The dream of being a rock star eludes most of us. Fortunately, you can work and succeed in the music industry. Being an audio engineer, you can have a huge impact on recording, mixing, editing, and much more.
Entries in music industry (39)
All too often, we get wrapped up in new tactics, new ideas, new plans and new ways of getting bigger and better as musicians. With social media and the internet, there’s so much information that it’s almost become immeasurable.
This is great and all, but maybe we sometimes lose sight of what we shouldn’t be doing.
There’s lots of stupid shit you shouldn’t be doing.
Here’s a quick guide to what you shouldn’t be doing.
THE PERSONAL ELEMENT
- Don’t ever stop practicing your instrument.
- Don’t be an asshole.
- Don’t WANT WANT WANT WANT. Learn to give back first.
- Don’t get defensive. Learn to take constructive criticism.
- Don’t forget to learn how to take destructive criticism, too. You’ll get a lot more of it than you think.
- Don’t forget that everyone’s an asshole.
- Don’t stop learning.
This week, we celebrate Thanksgivukkah, a rare occurrence where Thanksgiving eve and the first day of Hanukkah land on the same day. So rare, in fact, that we won’t see another Thanksgivukkah for another 70,000 years! This is not something we can’t afford to miss… This is it people. It’s now or never!!
For this rare occasion, we’ve partnered up two of our favorite Jewish musicians, and thrown them together in a virtual room to talk about how their heritage has shaped their lives and their musical endevors. Michelle Citrin (pictured left) is the star of the hit YouTube sensations, “20 Things to do with Matzah” and “Hanukkah Lovin’”, which to date, have received millions of hits, ranking in the top 20 most viewed music videos in 2008, and have been featured on Good Morning America, Yahoo.com, CBS Evening News, as well as The New York Times.
As the rise of mobile messaging apps take over the current mobile user population, the ways fans interact with music are changing. Historically, file-sharing takes place over the desktop computer through a P2P software such as BitTorrent. The user opens the music files into iTunes and they have expanded their music library for free.
Many mobile users are starting to figure out how to download music through mobile messaging applications and their smartphones. Transitioning from desktop file-sharing to mobile file-sharing will take a bit of time for users to catch up but the new Napster is already out there.
There is no doubt about it, music is fun- and it should be. For many, however, music is work. For these people music pays the bills, supports their livelihood, and puts food on their table. For these individuals who work in the music industry whether it be as performers, technicians, music teachers, managers, journalists, or marketers maintaining a level of professionalism is essential.
Let’s look at this idea a little closer. I wanted to discuss this certain ugly truth, which plagues the music industry, and great musicians everywhere. The music industry is flawed, and unfortunately not very fair. Best to know the truth and move on accordingly.
As you look around the industry this is highly apparent. I’m talking about he highest paid musicians vs. the level of musical talent. The popular attractive pop star vs. the refined musician. For example, Britney Spears vs. Diana Krawl. Lil Jon vs. Christian Scott. Unfortunately salary is not dictated by the level of talent in our capitalist structure, but the most in demand style of music.
We’ve all heard the complaints about the current Music 3.0 music industry model: physical product doesn’t sell anymore, download sales don’t make up for the shortfall, and streaming music cannibalizes sales and pays a pittance in royalties. Then let’s heap on the accusation that music today is so formula and soul-less and generally a shadow of what it once was. But how does that explain the recent success of Mumford & Sons and Adele? Here are two principles that hold true in any age.
It seems like a week doesn’t go by without new proposals for streaming music services — some real, some imagined. Most services position themselves to be more convenient than digital downloads. Few promise better quality than CD audio. Therein lies the problem with listener-paid business models, a simple truth from the software industry that should be heeded.
When I got into the commercial software business, titles were delivered in boxes containing install discs accompanied by paper user manuals. From there it became commonplace to purchase a license key to download software and soft-copy documentation. It remains to be seen whether full-feature software can now be accessed solely through the cloud.
I feel compelled to write this after hearing about Jeff stepping down as Tunecore’s CEO. I’m not clear on who his replacement is, but I’m going to say something that Jeff was once kind enough to say about me: he’s everything that is right with the modern music industry. He makes time for his artists. He breathes music. I’ve always seen Tunecore as a supportive family and there can be no greater home for my work, and Jeff is responsible for creating such a welcoming and encouraging environment for emerging talent.
I was recently invited to speak at a TEDx event. I spoke on the subject of fan experience. Here it is… enjoy!
When self-appointed guardians of the Internet and rights holders argue about the fall and the future of the music industry, you can put all of the talking points into two buckets:
Guardians of the Internet
Open, free, free culture, remix, sharing, do no evil, censorship, don’t break the Internet, innovation, value creation, music-will-be-like-water (don’t worry), scale, disintermediation, alternative income sources, patronage, greedy and shortsighted labels, etc..
Rights holders (artists, labels, publishers)
Copyrights, permissions, illegal sharing, stealing, royalties, negligible royalties, transfer of wealth, ad-supported sharing, free-loading, livable wages, the necessity of labels and publishers as investors, etc..
There are many technological developments within the last ten years that have changed the way we interact and consume media. Development such as facebook, twitter, (myspace), tumblr and youtube have emerged and have become an integral part of how society interacts. However, one of the crucial elements that is often overlooked is the impact that google has on how things spread and the content that is consumed.
After publishing Why You Should Give Your Music Away for Free here on Music Think Tank, I have been inundated with articles, comments, and other assorted replies decrying that the new digital music business models are killing the music industry. It got me thinking about a crucial distinction that is being overlooked, and the consequences of doing so are preventing many from seeing the opportunities that are abound. It boils down to one main concept.
The Music Industry has been struggling to battle the revolution of Digital Piracy for years, with countless musician’s speaking out against it. This struggle has gone as far as the creation of a few ill-advised bills being proposed by Congress, known as SOPA and PIPA, to protect Hollywood’s movie and music industries from dropping drastic levels of revenue. However, these laws were far from desirable, and the Music Industry still faces a challenge in battling piracy, despite the activists against it!
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(Updated July 8, 2015)