Release day economics
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Release day economics
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Re: Release day economics
#2Seems like a very tough business to be in. Guess, how do upcoming bands manage to make it through given that most people on the band are pretty much committed to it full time.
Re: Release day economics
#3Now listening to a new band in Spotify. Thanks. Hope the meager cents adds up from hundreds or thousands of users.
Re: Release day economics
#4Now listening to a new band in Spotify. Thanks. Hope the meager cents adds up from hundreds or thousands of users.
Don't worry, much more meager cents will add up in the recording labels pockets, and Spotify, than this band!
Re: Release day economics
#5I always like music industry posts showing up on HN as it's my view that the startup industry is in some ways like the music industry of years past.
Competition is fierce. Most start out working on their (startup or music) product part-time until the product becomes popular enough that it is a "hit". At that point the entrepreneur may be lucky to end up funded ("signed") which will help their ability to pursue their product full time and spend the marketing dollars to reach a larger audience.
Thankfully it's unlikely the VC/entrepreneur relationship will become as twisted and exploitative as the major music industry's relationship with artists as being funded does not suddenly unlock access to an entire set of verticals inaccessible to unsigned artists. Or does it?
Re: Release day economics
#6If the band members are also the authors/composers of their recorded material, they will receive slightly more than what is suggested here, since they will also be due mechanical and/or performance royalties from various services.
That being said, it's the best/worst time to be a musical artist - you can distribute yourself online (the biggest music marketplace) and receive a MUCH larger chunk of the revenue than ever before. At the same time, you are only going to sell 24 albums, because it takes a label or label-like organization to sell records, and because of the former point, you are now participating in a marketplace with a selection of products an order of magnitude greater than a decade ago.
Re: Release day economics
#7I always like music industry posts showing up on HN as it's my view that the startup industry is in some ways like the music industry of years past. Competition is fierce. Most start out working on their (startup or music) product part-time until the product becomes popular enough that it is a "hit". At that point the entrepreneur may be lucky to end up funded ("signed") which will help their ability to pursue their…
I was having this exact conversation the other day with a friend. The similarities between the two are striking. I've been working on a blog post about how my entrepreneurial idol is not Steve Jobs or Zuckerberg, but Anthony Keidis. If you've read his bio, Scar Tissue, you'll know this guy has had more ups & downs and "pivots" than most people could stomach.
Re: Release day economics
#8I was hoping to see some numbers from emusic in there. I've been paying my monthly subscription for years, and I've always been curious as to how the payout split goes.
Does anyone have a link / source / info on this?
Re: Release day economics
#9Seems like a very tough business to be in. Guess, how do upcoming bands manage to make it through given that most people on the band are pretty much committed to it full time.
I would not consider this a business. In fact, the drive to monetize art is at the root of many problems with copyright expansion, culture privatization, and art quality.
Re: Release day economics
#10Seems like a very tough business to be in. Guess, how do upcoming bands manage to make it through given that most people on the band are pretty much committed to it full time.
Most bands/artists work 40 hour weeks at real jobs. There are very few independent artists that do well enough to play music full time. If you can, it means you're touring constantly.