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Effects of Digital Downloads on Business

Discussion in 'Music Business' started by Don Grossinger, Oct 16, 2002.

  1. chrisperra

    chrisperra Active Member

    Oct 24, 2002
    i agree with you whole heartedly bob.

    i think it stems from the start of being an artist. i'm 32 and i make my living playing drums.

    i'm not a professional engineer like most here, so my perspective is most likely different. i am surviving as as musician and continue to play and grow, but most can't.

    musicians learn in a garage, some go to music school, then they play covers in a bar and get their chops together. all along writing songs. when i was younger and starting out "19 to 20" i could play cover gigs in vancouver,working for feldman.
    hell i'm originally fom nelson b.c. the middle of nowhere, and i gigged every weekdend for $300 thur fri sat. in nelson, castelgar, trail, cranbrook, silverton, kaslo ect and could learn my craft.

    i'm glad i had the chance, cause now giggin doesn't pay at all. especially for newcomers. how do you compete for gigs that pay well when you are 20 and everyone else is 30? it's hard.

    fortunately i do jingles and other things so i don't have to slug it out that much. i think it starts with, the only place a young band can play is the hell 4 band a night original gig. for 20 bucks.how can you do that and not have a day job? at that point in time there is no time to practice and get better.

    most of us would agree that going to an all original format bar on a tuesday and you don't know who any of the bands are. it's gonna be a crapshoot whether or not you are gonna hear anything good. so how do the labels sign high quality acts without building it from the ground up? it's brutal for them too. live, the industry is based off of alcohol sales " in the minor leagues of music".
    the full on record deal industry is based off of album sales. both of which aren't doing well right now.

    i wish there was a system like hockey, basketball or football where there are a couple of leagues that you can work through the ranks to develop skills.

    right now it's all or nothing. of course people will always make music for the love of it. money isn't really why we play.

    but for those who want to play proffesionaly at an early age it's hard to gig and develop.

    what happens is the labels go, should i spend a ton of money on this band that needs to be pro tooled to death? or this one? since none of them have any tunes and can't play i'll get this guy to write it and find the best looking 16 year old to front it. this is an exxaggeration again but in my opinion this is an everyday occurence.

    something is going to change though. on a grassroots level ,because of non smoking and drinking laws the average musician will find new venues eventually.

    maybe then labels will have a better pool of artists to sign.

    ultimatley, all i'm doing is bitching, i have no solutions. i hope things work themselves out in the future.

    chris perra
  2. Bob Olhsson

    Bob Olhsson Active Member

    Feb 13, 2001
    Nashville TN
    Home Page:
    There used to be a minor league. Amateur shows were common and people actually got paid enough to earn a living from playing original material as regional performers. Most of the leading studios and engineers did a LOT of work on spec. for promising newcomers because their rates for commercial work were high enough to support that practice.

    Now that recording gear has become "affordable," things are a lot easier for people doing vanity projects but there's WAY less support and exposure available for the truly gifted than there was when I began my career during the mid 1960s. I never expected I'd ever see people buying themselves major label deals but that practice has actually become pretty common today.
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