not in case of these new online services.
you put in a lot of time & money to do proper studio recordings of your stuff, and what you get back is within the margin of measurement error. that’s how industry now works, and that’s what i was talking about.
before 2008, when music was sold on conventional media, it was not that bad. anyway, smaller labels just did not survive the great recession after 2008 financial crisis, so it became what it is now.
as a conclusion for myself, i build my project as live-oriented from the start. after all, music is about performing, and it does not really need all that overproduction that is common nowadays.
i know enough 80% of my thoughts about optimal production cycle were originally taken from his interviews and then contemplated in the context of electronic music.
i just wonder where industry became better for artists. because what i see with my own eyes is clearly not.
and regarding DAW-based vs DAWless rig question:
DAW-based setup is more convenient for travelling beacuse of less volume & weight. so, it’s not surprising when artists who’s touring a lot use DAW-based rigs. (convicing myself to start saving money for Pyramid.)
Ya thats not quite what i meant. Making the music is half of it, getting out, playing live, connecting with people and getting a following is the rest. Lots of werk.
I worked in clubs for a long time and so I talked a lot to bands (punk/hardcore, stoner, metal, blues, garage punk etc.) and the consensus was that it’s better for them now.
Services like Bandcamp skips the label completely.They built their following through hard touring, even if that means to play in front of 10 people.
I’m thankful I can still make a living playing music, but there’s no way I’d say it’s better now. There was a time when good enough royalty check could mean a new car or a solid down payment on a house. I’m the past 10 years it’s a fraction of that.
The good news about how things work now is anyone can put out a record. It’s also the bad news in a whole lot of cases
so, it’s more & more difficult to fing something worth among new releases. because the number of good releases grows arithmetically, but the overall number grows exponentially.
i always percieved gigs, where musician interacts with the living audience, like sex, and studio job, where musician interacts mainly with own imagination, like a handjob.
between live and studio recordings, i often prefer live, with all their imperfection, and even poor quality. just because they are more energetic.
but… i suspect most people on electronic scene would disagree with me.
80% of my thoughts about optimal production cycle were originally taken from his interviews and then contemplated in the context of electronic music.
