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A Sad Week For The Music Industry-a note by Nick Warren (pg. 4)
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| elFreak |
or wear giant animal heads to play out.
tis unfortunately the hole state of music at the moment. |
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| sgb476 |
In a recent interview with Resident Advisor, Move D explained that:
for him, the digital interface severs the vital tactile relation that has existed between the DJ and her records. "That's the one thing I really hate. You can bring 20,000 songs on your hard drive no problem, but then you have to sort it into an endless list of names and letters. When I dig through my record bag it's a different relation… I think it's a stronger relation to the music and the piece." It seems a big part of what D is insisting on here is not just the physicality and fetish qualities of records, but the way vinyl, as an instrument and a physical object, makes you move when you move it — as it's moving. http://www.residentadvisor.net/feature-read.aspx?id=977
This is precisely the reason why I prefer collecting vinyl over the digital format... and I'm a convert fom digital to wax :toocool:. |
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| Progsounds |
| quote: | Originally posted by flavdave
If you're an established label and you're getting "lost in the shuffle" with all the releases on Beatport and similar sites, then you're not doing a good enough job of branding and marketing yourself in the digital marketplace. If people don't have time to search through the sites for your releases, then make it easy for them. Let them know when you have something new coming out. Tell them where they can find it.
And people have been trading music for decades now, MP3 is just the latest cassette tape and CD-R. |
Problem is that with broadband reaching mainstream profliteration, and internet provision more easily/widely available, lower costs in computer technology means there are more people than ever online, which ironically the growth or which in some ways has contributed to the ways things have gone.
As for marketing and branding, it's all well and good but when banners/ads on Beatport account for maybe the Top 10/20 releases per genre, its all well and good for other labels to try and counteract that with blog / forum / bulletin posts etc about their releases, but when they all have the same idea it creates an endless sea of press releases which the average person is either put off or simply cant be ed to trawl through and read as a result. |
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| RTP |
I was going to say it's sad that the credit crunch now took over the music scene aswell, but I was very shocked by the reasons they state why they went down. I mean maaaan, this discussion concerning the illegal p2p stuff has been going on for AGES! They really should have had the time to adapt their business models accordingly and apparently they were doing that because otherwise they wouldn't have survived for so long together with the digital scene of now.
That now is just a weak excuse... |
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| Progsounds |
| quote: | Originally posted by RTP
I was going to say it's sad that the credit crunch now took over the music scene aswell, but I was very shocked by the reasons they state why they went down. I mean maaaan, this discussion concerning the illegal p2p stuff has been going on for AGES! They really should have had the time to adapt their business models accordingly and apparently they were doing that because otherwise they wouldn't have survived for so long together with the digital scene of now.
That now is just a weak excuse... |
The problem with these threads is that they descend into the old debate about file sharing. Yes it was a contributing factor to the demise of these companies and will lead to the demise of record labels / artists leaving the business as they cannot make anything from it, but no one is really saying its solely the fault of file sharing, even Nick Warren's post didn't.
The most reoccuring thing i've noticed the last few days is that people think that the digital domain can solely provide the same kind of operating revenue some of these labels are used to obtaining from sales across a variety of mediums. At this time this is nowhere near the case aside from those singles that manage to achieve Beatport Top 10 status and a few others, and realistically due to factors stated elsewhere in this thread will be another challenge for those labels that are lucky enough to have remained afloat even though some of them have been left with no recoupment of revenue from their distributors twice in the last 12 months.
Realistically though, whilst revenue does come into the equation, ultimately some of these DJs and label managers invest their heart and soul into some of these projects, lets say for example something like R&S compilation 'In Order To Dance', Buzzin' Fly's '5 Years In The Wilderness' and Bedrock's 10th anniversary. Collating all the material for these albums is a vastly time consuming process when you take all the stages of the process into considration. They do this to try and provide something great for the end user, but ultimately no one will want to invest time and energy into projects with no benefit at the end of it, monetary or otherwise. |
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| elFreak |
| realistically electronic music at the moment is strangely looking a lot like disco around 1980 ;) |
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| Nrg2Nfinit |
| quote: | Originally posted by elFreak
realistically electronic music at the moment is strangely looking a lot like disco around 1980 ;) |
didnt i say this 3 years ago? |
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| elFreak |
| i only listen to white people:p |
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| Omega_Blue |
| quote: | Originally posted by elFreak
realistically electronic music at the moment is strangely looking a lot like disco around 1980 ;) |
elaborate plz |
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| elFreak |
dying.
a lot of big clubs have closed this year. |
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| Clovis |
| I'm happy, big clubs. |
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| elFreak |
i'm just saying...same thing happened with disco.
the big clubs are needed or else there is no money to be made. |
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