|
A Sad Week For The Music Industry-a note by Nick Warren (pg. 10)
|
View this Thread in Original format
| elFreak |
| there needs to be less beatport exclusives and more 12" exclusives. |
|
|
| flavdave |
| quote: | Originally posted by Armitage
Spot on. Digital distribution needs to play to its strengths, physical releases need to play to their strengths. If you're releasing a PHYSICAL product, it better be PHYSICALLY interesting. Cool cover art, liner notes, weird add-ins, whatever, just make it so that you're actually getting a better experience by putting down cash. |
And one of the strengths of digital should be the ability to purchase a track regardless of what territory you live in. Maybe the downfall of these distributors and labels will wake others up to the idea of global digital distribution. |
|
|
| phyrrus |
| sorry but record labels do not equal the music industry. if anything, labels are detrimental to the process of making and releasing music. |
|
|
| Clovis |
| quote: | Originally posted by elFreak
there needs to be less beatport exclusives and more 12" exclusives. |
All the "beatport exclusive" extra tracks and releases generally suck. |
|
|
| sgb476 |
i get the impression that in many cases those who illegally download music don't know exactly what they're getting hold of. in other words, if a track by a producer or label they recognise is there for free - they will take it (without really having ever specifically wanted it). therefore, this factors into the alleged money that producers could have earned from download sales.
secondly, the issues that come with "quality control" and "hype" do, in my opinion, have a large connection with format. take, for example, online record stores. they usually sell out of unhyped quality music within days or weeks - showing there is a healthy market for vinyl as a legal format - within the realms of its distributional capabilities. in contrast, so long as there are labels under their wings, beatport will release everything from them, and sell the headlining commercial space for the highest price...while the humble record store tends to order in and sell what they know is good. just to be clear, i'm not trying to romanticise vinyl or the days of mystery that were before the digital revolution, but generally speaking, the releases with more hype and marketing capability are the ones that are affected by piracy the most.
thirdly, i reckon that the large number of single-format labels (be it digital or vinyl only) are denying consumers the choice to obtain their music legally, rather than downloading torrents or lower quality cdr rips off their mates. surely most djs would be prepared to pay a small price given the choice and means to do so legally. |
|
|
| KiNeTiC ENeRgY |
| quote: | Originally posted by elFreak
you can do so many tricks this way it is crazy...turntablists use this alot.
not just for different tracks...often the same one. |
And is also a great way for noobs to learn how to beatmatch records. |
|
|
| Armitage |
| quote: | Originally posted by KiNeTiC ENeRgY
And is also a great way for noobs to learn how to beatmatch records. |
Is it? Wouldn't the pitch adjust be identical for both? |
|
|
| stripped99 |
| quote: | Originally posted by Progsounds
Your statement to a point is warranted, although in many ways its an altogether sweeping generalisation of A+R people and label owners. Yes there have been labels that have exploited artists in the past and there will no doubt always be those people who are purely in the music industry to make money, bouncing from one business venture to another and leaving many people owed advances/fees for remixes/royalties etc.
However, there are many people, like Nick Warren as a matter of fact or like Dave Seaman who don't run their labels to make any money or because they have a need to - they run them simply to provide an outlet for the producers they come across on their travels around the world. The fact these producers are practically unknown makes no odds to them as they just want to help these people. Ultimately its the good people of the dance scene that suffer the most for trying to do something beneficial. |
well said |
|
|
| THE_Chris |
I've said it many times. Digital Downloading is going the wrong way. Beatport are horrendously expensive, so are Trackitdown. This is why people are still filesharing.
The quality of illegally shared music is usually pants anyway.
It should be quick, easy, cheap and DRM free to purchase music online. With the likes of Beatport as the monopoly, its not going to happen.
And where are the booths in record stores hooked up to Beatport where you can put in a memory stick and download a pile of music? Innovation like this might get them somewhere but no, everyones just sat back and farted about. |
|
|
| dj christian |
| quote: | Originally posted by THE_Chris
I've said it many times. Digital Downloading is going the wrong way. Beatport are horrendously expensive, so are Trackitdown. This is why people are still filesharing.
The quality of illegally shared music is usually pants anyway.
It should be quick, easy, cheap and DRM free to purchase music online. With the likes of Beatport as the monopoly, its not going to happen.
And where are the booths in record stores hooked up to Beatport where you can put in a memory stick and download a pile of music? Innovation like this might get them somewhere but no, everyones just sat back and farted about. |
The quality of ripped mp3's are generally . They aren't supposed to be played in medium to big clubs even the highest encoded mp3 won't cut it. If you though mp3's on beatbort are expensive what about the wave format? You can't even get wave format on beatbort. I only know about Juno but they don't have ripped wave format on all their back catalouge. |
|
|
| epdarks |
To my surprise Amazon has quite a few $.99 tracks, I'd say it's worth a search there before you pay $2.50 @ Beatport.
IMO in the future artists will have to make money doing DJ/live shows. Productions are a tool to get bookings, for better or for worse. |
|
|
|
|
