firedog Posted September 16, 2019 Share Posted September 16, 2019 On 4/26/2019 at 11:12 PM, BrokeLinuxPhile said: Qobuz got completely ignored in that piece like they don't even exist. I find journalistic spin fascinating. Not spin. They are just so small they are ignored. Same thing happens to Tidal in some streaming write ups. Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
firedog Posted September 17, 2019 Share Posted September 17, 2019 2 hours ago, PAR said: As for streaming per se, which artist was it who recently received a cheque for $15K for streaming an album that he made 40 years ago then, instead of treating it as a nice unexpected windfall, complains that it wasn't enough? Talk about greed. How many reading this still get paid for a job they did 40 years ago? Don't agree at all. The record labels used digitization and streaming to cut the artists and songwriters out of most of the royalty streams, in comparison to the era of vinyl and CD, where performers and songwriters were well compensated for each copy of an album sold. I think you are referring to Peter Frampton. So what if he made a record 40 years ago? People still listen to it and he's getting a tiny percentage of the revenue it generates from streaming. Getting paid a few thousand dollars for a million streams - and you accuse him of being greedy? You are asking the wrong question. The right question would be, "Why is the artist getting such a small share of the present day revenue when the record company and corporate interests made massive profits 40 years ago from the original release?" The label is clearly doing nothing to promote the album or invest in the artist anymore...the album is being streamed because people like the music, yet the corporations keep the money generated away from the artists. The artist got $15K? And the record label, streaming service, etc split another 30, 40, or 60K.... Jud 1 Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
firedog Posted September 17, 2019 Share Posted September 17, 2019 18 minutes ago, Jud said: Would you give some examples of musicians making good livings in this way? There are the exceptions that prove the rule. Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
firedog Posted September 18, 2019 Share Posted September 18, 2019 15 hours ago, PAR said: Yes, it's appalling. Each band member in your example only made 4 million this summer from touring . Plus , of course, their other income streams. A hand to mouth existence. And remember that just like you or me they have to pay their chauffeur, valet, personal cook and flower arranger out of this. Get real. How many musicians/bands make that kind of money? A handful. The rest are lucky to make the equivalent of minimum wage. Teresa 1 Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
firedog Posted September 18, 2019 Share Posted September 18, 2019 34 minutes ago, PAR said: Not my figures. I am just reacting to those proposed by Computer Audiophile. Are they real? I think he may have been referring to the Rolling Stones. Yes a few artists are paid exceptional, I would say unjustifiable, sums. However , recording and royalties derived from it is not what music is exclusively about and musicians can, and do, make a decent or even good living without going near any of this. My next door neighbour is a professional oboist. When single she was able to buy a place like mine in London ( check property prices here) but has never made a commercial record. So she was and is living a decent lower middle class life on the back of her music making. Good on her. After all people have been paid for making music for thousands of years. Recording is only 150 odd years old and perhaps that brief period when it became a leading light of cultural life ( mid 1960s to mid 1980s?) may now be over. Again, you are cherry picking the small minority that doesn't reflect the majority. There are probably another 50 or 100 or 200 highly qualified oboists around the UK that can't get a job at all, or know early in life that there's no possibility of a career and give it up. Does she have a permanent position? Ask her how many others interviewed for it when she got it. Teresa 1 Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
firedog Posted September 18, 2019 Share Posted September 18, 2019 17 minutes ago, PAR said: Yes, and that will always will be the case. All artists in whatever medium are fundamentally self appointed. Society does not create a job for someone just because they decide that they would be good at that job (whether they are or not). Just because there may be 200 qualified oboists does not mean that 200 orchestral positions have to be created to accommodate them. Most artists, again in whatever medium, do manage to make ends meet even though it may not be exclusively from their artistic pursuits. At the end of the day those artists that are popular will make money and possibly a lot. Those that are not popular will not. The latter do not "deserve" a living from their choice of career path. If they cannot make a living from it, for whatever reason which may be as vague as current fashion or taste, then they are not economically viable and need to find an alternative, just like most people. I had to change my career four times over my working life. So think honestly: are you pro corporation and anti-artist? I didn't say artists "deserve" a living. But the system is setup (especially recording marketing and royalties) for 99% to make slave wages while the one percent make extremely high wages. There's no reason it "has to be that way". The system is basically setup for them to fail economically so that someone else gets monopoly rents from their work. The royalty setup for streaming is a good example. That system is created by society. There's nothing natural or obviously correct about it. Teresa 1 Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
Popular Post firedog Posted September 21, 2019 Popular Post Share Posted September 21, 2019 On 9/18/2019 at 6:00 PM, PAR said: But they are not "wages" . Earning a living just about anywhere in the arts involves receiving income from multiple sources. In this case not only streaming. Some sources pay more than others. Which pay the most or the least can change over time. Currently succesful musical artists make more money from touring than from recordings. That is the reverse of the situation in the 1970s to 1990s. Go back before then to, say, the 1930s, 40s and 50s and touring or other live engagements were again the honey pot. Streaming is only one component making up a musicians' income. Right now , at what is the beginning of this new way of distributing music, the sums may be relatively small compared to other sources. As subscriber numbers grow and new territories are added ( so far streaming is effectively limited to Europe and the USA) income will expand. China is just about to start its first streaming service. Imagine how many subscribers that might attract and consequently what potential sums may be generated for internationally popular artists. As an ex-recording industry professional who spent nearly thirty years dealing with this kind of issue I would point out that the reported sums of rate/stream etc. are not very illuminating. The important thing is the formula by which the payments have been calculated and the definitions used to describe its components. And that (or, rather, they) is unknown. Sorry, it's all blah blah from you. The streaming system is setup so that the money accrues to corporations and an exceedingly small part of it goes to writers and performers. This is not a given, nor some "natural" economic outcome. In the era of vinyl and CD the position of the recording artists was better, and the big corporations simply used the new technology and lack of a royalty system that pertained to it, as a wedge to lower relative payments to artists so they could accrue monopoly style rents. Teresa and blue2 1 1 Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
Popular Post firedog Posted September 21, 2019 Popular Post Share Posted September 21, 2019 On 9/18/2019 at 1:26 PM, mansr said: The problem with artist compensation is that the amount of money people are willing to spend on music isn't enough to support the current number of (would-be) musicians. Not exactly. "The Market" only works as an efficient system when there are no sellers or buyers in a position to influence the market. The music market is clearly not one without market influence by some of the participants. A truly efficient market would probably reward recording artists and sonwriters with better pay relative to other participants. Ralf11 and Teresa 1 1 Main listening (small home office): Main setup: Surge protector +>Isol-8 Mini sub Axis Power Strip/Isolation>QuietPC Low Noise Server>Roon (Audiolense DRC)>Stack Audio Link II>Kii Control>Kii Three (on their own electric circuit) >GIK Room Treatments. Secondary Path: Server with Audiolense RC>RPi4 or analog>Cayin iDAC6 MKII (tube mode) (XLR)>Kii Three . Bedroom: SBTouch to Cambridge Soundworks Desktop Setup. Living Room/Kitchen: Ropieee (RPi3b+ with touchscreen) + Schiit Modi3E to a pair of Morel Hogtalare. All absolute statements about audio are false Link to comment
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