Interesting but not surprising at all. I saw this coming years ago. Its why I started RO 4 years before GS. Sad thing is I didn't have the money to keep the bandwidth speed up, for downloading tracks. No one felt it was valid to pay someone to host it all either. Good to hear GS got a nice plug on this.

Whats interesting is how every part of our world involves Social Media in some way. Look how fun our track talk forum is. Its the experience together that is what we all like, don't you think? I love participating in mix topics. Its like playing a game of cards, or chess with friends to me.

Thanks for posting this Marco.

what i found interesting was all the "pros" at GS that seemed to have 6 hours plus each to throw away on mixing a strangers song for free. i wonder how many hours were wasted on this?

Kurt Foster, post: 445844, member: 7836 wrote: what i found interesting was all the "pros" at GS that seemed to have 6 hours plus each to throw away on mixing a strangers song for free. i wonder how many hours were wasted on this?

Like a fool, I have invested 200 hours in a mix that paid me $100. Once I started, I knew what it needed so rather than money as the driving force, my quest to conquer it became the payoff.

Art and the time vs money it takes don't make sense. Its why so many artists are flat broke and still doing this regardless if we ever see a dime. I think the mass of us are doing this because we just love it all.

Great songs mix themselves in short time. The tough ones take hours, if never having enough time to get it done. Most of us do this for fun. Only a few of us ever hit the jackpot.

i can't imagine spending 200 hours on mixing anything. i think i would throw in the towel at 20. what warrants a 200 hour mix?

Kurt Foster, post: 445850, member: 7836 wrote: what warrants a 200 hour mix?

Unnoticed sound replacement to say the least. Very fussy clients, perfection that is useless time for nothing.

audiokid, post: 445843, member: 1 wrote: Its the experience together that is what we all like, don't you think?

Yes, that's why we see more and more services like nailthetmix, it's not just about making good mixing anymore but how we relate to others and the exchange with the community.
It's a bit sad that it isn't a paying job but a divertissement. Living off our passion is the ultimate goal in life but it gets harder and harder everyday..

Social media has been an explosion in pop culture, that rivals the invention of the internet. However, just like the internet, the change wasn't completely good. People aren't finding mates, or raising children as much bc of the massive availability of online porn. I'm only 38, and when I was about that age, to get your hands on porn was 6 degrees of separation thing. You had to know someone who knows someone etc. Sites/apps have arrived that make casual sex very easy. So again, families are dwindling all across the world.

Music is easily stolen, movies, anyone's intellectual content. Hardly any sensitive information is safe anymore. It won't be long until "hackers" are the new "communists" (except they would actually be a threat). Criminal organizations with drug money, partnered with hackers etc will be the underlying threat to the world. Anyway...

I think the home recording is fantastic. There are a lot of people like myself who would love to make music, but I can't afford any other way to. It's still quite an investment. Mine is very bare bones, and it was at least several grand. I don't really want to think about it lol....

Napster. It was here, and it's gone, but what it did, will never go away. You have just as good a chance of stopping drug use around the world. Torrents are everywhere, if you are smart, you can do it so that you can't be detected. Soulseek is always moving around etc. The only chance of "selling" music anymore, is to convince people to buy it. That means making it so cheap and easy that it's easier to pay for it than steal it. I don't see how they will set that balance any further in favor of purchasing instead of stealing.

Concerts and shows generate money, but the return on investment is not large in comparison with record sales. The record is made, it's done, people buy it...that's the chain. Touring is a lot of wear and tear on the artist, mentally, physically, emotionally. It's a lot to go through just to make ticket sales and some subsequent album sales. It's inefficient as a money maker now. People could be at an artists show, and downloading the their pirated music at the same time. 20 years ago, that was impossible.

"Fixing" the problems mentioned in the music industry? Realistically, I don't see it happening. Once the cat is out of the bag, it doesn't go back in. The music industry would have to change what their "problems" are. The consumers are not going to do it, and technology is not going to go backwards.

I guess if the solution is going to be that bands...disband, and start playing in people's living rooms....say 50 people x $40 = $2k, and they do that, on average, once a week and are satisfied making a small 6 figure income...it could work for some people.

I've got a modest proposal for fixing their audio track: slap a mastering limiter on there and raise it 12dB or more. He's a freaking music producer, TED (x or not) presumably attracts internet savvy technicians, a ton of resources went into this production and this is the result? Are they trying to sabotage their credibility?

Another aspect that started a year or so.
Many people ask their fans to pay for their recording project.
A quebec StarAcademy participant from 3 years back is now asking fund to pay for her recording project.
So she ask people to pay for extras, like getting a presells album, autographe pictures and even the chance to make backvocal on the album or live (for 350$)
It's great for her if it works but frankly, she wants 60 000$ from quebec people to go record in Nashville? it would cost less than 20k here and would sustain the local record industry..
And so how would anybody pay to sing on an album while it suppose to be the otherway around.
Anyone of you wants to pay for learning and performing on an album that somebody will keep the benefits ?
It seems out of a few elites, most of artists are starting to beg for money and that's not healthy !

pcrecord, post: 445900, member: 46460 wrote: ...even the chance to make backvocal on the album or live (for 350$)
...
And so how would anybody pay to sing on an album while it suppose to be the otherway around.

You could pay more than that for your own setup, spend hundreds of hours creating an album and still not get heard. It's like paying for product placement. That justifies it from the guest performer's perspective. The potential for added tracking, tuning and editing time justifies it from the artist's perspective.

bouldersound, post: 445901, member: 38959 wrote: You could pay more than that for your own setup, spend hundreds of hours creating an album and still not get heard. It's like paying for product placement. That justifies it from the guest performer's perspective. The potential for added tracking, tuning and editing time justifies it from the artist's perspective.

Interesting opinion. Of course we are not talking about signing on Celine Dion album here... But I like your idea.
Thing is what ever the exposer, the chance to become a start is very slim these days