Hardware fun vs. DAW productivity


#225

actually, it’s at least not bad.

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.


#226

Babylon. Whoo. Alright.


#227

Then choose your promoters wisely…


#228

One word. Itunes. The death of music!


#229

I don’t mind really, it’s not a job for me. I choose wisely the ones that won’t bother me :grin:


#230

HA…a lawyer you are not :slight_smile:
“Judge…i submit my client is not guilty…i cant tell you why…you must find out for yourself”

Gut feeling or your own perspective does not count as evidence. If you present and arguemnet you must be the one to provide the details for your case.

So i will disregard your opinion until further details are provided.


#231

Better yet…the internet.

Audio galaxy and napster kicked of the death crawl.
Itunes, soundcloud, bandcamp et-al continue the crawl.


#232


#233

That’s fine, I don’t really mind if you don’t agree, but if you’re really interested for starters take a look at how much labels and especially artists earn from streaming vs sales (both physical and download) over the last 15 years, you’ll see a very strong and a very basic pattern. Gigs and merchandise make up way too much of earnings now, and even gigging is actually quite expensive if you have a number of people and a bunch of equipment involved. This is just for starters off the top of my head… It’s not a court case, I have neither the inclination or the time to dig out a bunch of stuff and ‘prove’ it to you. If you want to believe that things are just as they were that’s your prerogative!


#234

Check how much artists verses labels made.

Bands made money touring and selling merchandise at shows. Only stadium bands made notable money from royalties. The label made the lion’s share.


#235

That’s such a huge generalisation!! And wrong… only stadium bands made money from record sales? Fine, let’s just agree to disagree :joy:


#236

“hardware fun vs daw productivity”


#237

Ill pass, thanks.
Sorry, stadium was an overstatement as bands like autolux, enon, pinback etc. etc. made money. But they definitely wont be living out their lives on it.
There will have to be something else.
But they also toured their ASSES off.


#238

I see your point but I don’t think it’s quite so straight-forward as that. Playing gigs IRL isn’t a straight-forward thing to arrange as in my experience the bands/artists who get the most gigs are the ones who’ve got the most mates or work a scene. Of course, some times you’ll see a less popular band/artist make progress based on their talent but that’s less often. And then, you have to factor in fashion and trends… even up in Glasgow, if you go to a gig with unsigned/unknown electronic bands you’re lucky to get more than a smattering of people there who are connected to the bands playing.

I guess it’s been about 10 or 15 years or so since I played live as I haven’t really had the time or motivation to make the contacts to get gigs. Thing is, I’ve taken a notion to maybe playing again using the “Hardware fun” approach suggested by this thread as some of my favourite anecdotes from my younger years came from playing gigs…

So, filming some stuff and uploading to Youtube might be a way to have something to send to people to start that merry-go-round…


#239

Fair point


#240

Part one of your statement is very true. With an average record deal the label loans you a huge amount of money. For sales they tended to get 88% and you get 12%. Worse still, you have to recoup the huge loan before you see mechanical royalties, which comes out of your 12%. They earn their 88% from record one. I’ve had many records that never recouped, yet the labels made 7 figures. Their ‘loss’ and my loss were very different things.

The “only stadium bands…” bit is false though, I’m afraid. Even moderate record sales secure bigger festival slots, better venues and much higher pay. I had a good 3 year run in the 90’s making 6 figures each of those 3 years and I gaurantee you’ve probably never heard of me :slight_smile:


#241

Interested to know…in a six figure year, was that pre or post the cost of opperation…travel, lodging, food etc?
Adding: and what kind of schedule? Im sure it was busy and more stressful than posting online.


#242

Net income. I’m all about fun and hopefully revealing conversation. As a fairly new OT owner, I’m used to getting corrected and playfully smacked down here on a regular basis. And I love it because I’m learning stuff.
Just trying to share my experience, man. I have a fairly large circle of friends who range from solidly middle class to wealthy in the music biz that most folks have never heard of. It’s just true. If you prefer snide or rude asides to that experience , it’s on you. I’m here to make friends with like minded people. It’s supposed to be fun.


#243

Might be time to get back on topic folks :thup:


#244

Ok!
Is this a weird workflow? I often jam out parts for samples into Logic. Once I got enough parts (6-8 tracks), I arrange the parts into something resembling a song. Fully arranged and mixed. Then I hack that up into stems, transfer to the OT and give it another go. I almost always prefer the results there. At that point, it goes back into a new project in Logic for mixing and possibly more editing. Convoluted and maybe dumb, but I tend to go in and out of the box several times before a song is finished