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07 Sep 2015
Chill-out Music
As with any new development, you will find there's ton of speculation concerning the emergence of the Indie industry for new music. Of course, nobody knows with 100% certainty, but when history is a good indicator, then most of the speculation will grow to be wrong 5 years later on when we look back.

Sphinx
Because i am among those who speculate, We've no special powers of seeing the future so there are no guarantees that we will be correct. Luckily, few will remember people who were wrong inside their prognostications. In fact, few will remember people who were correct as we will have all moved on to something more compelling by that time. It will not matter unless we are actually historians. I have no interest in looking back to say whether I used to be right or wrong. But, I actually do have an interest in the record companies.

First, I believe you will need to understand the forces available. Most understand the energy money and influence within this business of music, so that it really makes sense for all of us to give consideration to it. That is, money and influence will continue to be a factor. However, you will find there's new force around that will change the overall composition of the previous infrastructure.

As everyone knows, the big difference could be the emergence of mass communication, new digital media and resulting file sharing capabilities. Today, you yourself have the potential to reach as many folks as the big guys. Please be aware that I say "potential". Having a great product, or perhaps in the case of a songwriter, an excellent song, does not mean that everyone will hear it. The brand new model is continuously shifting around under our feet even as we explore ways to have our music heard.

The top names in music continue to have an advantage despite the shifting landscape. Songwriters and bands that have a huge following currently have name recognition in order that they are able to step not in the traditional box and have a lot of existing power and influence using them. We have all heard about Radiohead's grand experiment so we all know that it helped them. In case you do not know, Radiohead decided to split making use of their label and produce an unbiased CD. They offered it online and only asked website visitors to donate what they believed it was worth. Folks responded by donating money. Why did it work? It worked because we already knew them. It also worked because a lot of the traditional system infrastructure was removed and the profit margins were greatly improved as a result. However, it is only fair to say that the recognition of the brand Radiohead was originally thanks to the traditional infrastructure of the old music business.

The point is, let's not move too rapidly in our assumption it will work for us. Many people do not have the name recognition of Radiohead. Therefore, we've got less probability for achievement without some form of assistance. The top publishers and labels also continue to have an advantage. Their advantage remains deep pockets where they may obtain practical information on promotions, etc. They likewise have huge networks of "partners" who may have faith in their power to make lucrative deals. Corporate sponsors, advertisers, and distributors continuously see less risk together with the existing larger organizations with established track records. It will take years for brand new players in this industry to emerge. That is, a fresh online label or publisher will likely need to demonstrate some success before getting the credibility to succeed in the regular system. This system is additionally changing, but it will not change overnight. I have faith that it is somewhat naive to visualize that the new players won't change in the process. That is certainly, they will begin to resemble the existing players as the old players commence to resemble the new players.

For the time being, we see an occasional breakout of Indie artists that provides us "little guys" hope for not able to our own music. Ingrid Michaelson is the better example of Indie success i know, if you take into account that she was previously unknown. The label of Indie artist has several definitions, so we have to be careful to understand the differences between a designer who is considered an Indie artist because they're not considered mainstream, as well as an Indie artist that's truly independent with regards to their availability of resources. Actually, I don't know of any artist that is both successful and truly independent. Having some success generally requires a designer to receive assistance somewhere along the way. It is difficult to know the source of the assistance since it is less likely to be publicized, but I contend that the assistance exists nonetheless. Regarding Ingrid Michaelson, she was very fortunate to own her song played on an "Old Navy" commercial. How did this happen? I am not sure with 100% certainty, on the other hand doubt that it was only Ingrid. I think that she had some assistance throughout the entire process. As an engineer, I also are aware that a complex, dynamic system including the music market composed of the general public and the music business is very difficult to predict. There are many variables, and again, you will find forces that must be considered.

So now, what will the future appear to be? I believe there will be a conference somewhere in the middle between the remaining traditional music models and the ideal model of Indie music produced "by the people for the people". We are already seeing a shift in the strategies with the big guys to work with the Internet to their own advantage. This ought to be expected. While some individuals will continue to rage against the power of capital, money may ultimately find a place despite any idealistic notions on the contrary. It just makes sense that capital can be a force that must be given due consideration. Otherwise, we'd have seen individuals making their own brand of automobiles. Certain industries are much more capital intensive, like the automobile industry, nevertheless the analogy is valid. There are many industries that will difference in these uncertain times, though the collective aspect of getting high quality products to market will continue to be in place.

While capital might help produce flashy, high quality products, there is a growing taste for something different and exciting. Most people are growing tired of formulaic music. Were now hearing new sounds and rhythms that give us new sensations. Unfortunately to the big guys, they've got put most of their eggs in to the basket of supporting the same old styles that have been repackaged. Indeed, there will be little regard for our taste as listeners. This will also change, but it will also be very slow. A lot of the labels have completely eliminated their earlier practice of developing new artists. It is now shifted to a process of "cherry picking" among the up and coming artists who are beginning show signs of independent success. So, the Indie artists are increasingly being given a choice during their career. Would they wish to continue as so-called independents or can they wish to have a larger sponsor which will help them on a much bigger scale?

The divide that exists between your Indie artist and also the signed artist is very large until you consider a number of the newly emerging systems for providing assistance. That's, the divide is being filled by a various people who will provide some form of assistance. You can now look for a multitude of services online to help you as an artist. Most of these services are provided for their fee. Of course, as with any new market, there'll be a period of excitement due to valid perception of new opportunity. There will also be the inevitable "overshoot" occurring. Systems tend to be employed in cycles and this new infrastructure won't be any different. That is, the supply of services go beyond the actual demand which will result in a pendulum swing in the opposite direction at some point in the future.

The services that survive will likely be those services which may have something to show for the associated cost. That is certainly, services that have something to make available will continue to flourish while other services may ultimately disappear. This is already becoming somewhat apparent, on the other hand believe it will take quite a while to really shake out. It's interesting to me that this one element that's really missing in the centre ground between 100% independent artists and 100% dependent artists is money. Eventually, someone should be aware of that money is the missing link on two separate levels. To start with, on a personal level, money is needed for artists to thrive. Having services available is of little use to people who have little money to buy their own careers. Secondly, on a business level, there exists a need for more than a web presence to actually provide services to artists. That's, capital is needed to have nearly anything than a website. Indie labels are good examples of capital intensive services that may be offered to assist a designer. This much should be clear. However, many of the other services also require equipment not only a computer. Finally, there's a need for many of the services to possess a ground game. As an example, there is a big difference between managing a website and having the opportunity to actually show up personally to adequately represent a painter.

I believe these voids could eventually be filled by enterprising music entrepreneurs. However, I believe that more emphasis must be placed on money along with the ground game before it'll begin to really sound right. Finally, I believe that seed money has to become available for promising artists. Which is, an artist who has sufficient music collateral really should have more options available for them for growing their career as well as their earning potential. In these times, investment money is becoming hard to find. However, traditional investments might not be as attractive even as move forward in this brave " new world ". Most of us remember when companies listed among the Dow Industrials had very little chance of failure. This really is no longer true within the global economy that exists today. So, why don't you create a fund through which at least a portion of the money can be invested in the career of promising artists? This sort of fund could also supply the means by which artists may put money into their own future.

Another model would involve eco-friendly providing seed money to pick individual artists for a return on their investment. Of course, the arrangement must be contractual for it to function. Guess what? This already exists in the form of publishers and labels. However, you will have a new demand for funding within this middle ground between unknown artists and stardom. This funding, In my opinion, will be needed to help bridge the visible difference between the availability of services along with the need for assistance.

Naturally, there is the model of pure public opinion when the better music bubbles to the top as more people listen on the social networks. I believe there exists some validity to this model but it also is just not perfect given the large number of uploads from which to choose. The odds will continue to decline as increasing numbers of people attempt to break out by way of the internet. The pioneers on this medium had a superior chance as there was significantly less competition. It should certainly be clear that the numbers have grown to the point of making the position of gaining recognition just as difficult as prior to internet. Just like the services, the artists must also have a ground game. Which is, artists must be accessible to perform with regularity as opposed to depend solely on an internet presence.

In closing, I would love to claim that a great song can create enough energy to interrupt out by virtue of it's own merits, however i believe that would be the idealist that also lingers from my youth, wanting good to win out irrespective of the way our system operates. Unfortunately, I really believe our society is too determined by the flow of cash to allow more than a fraction of the percent in the way of lucky breaks to defy the odds. In the meantime, I wouldn't recommend throwing money away so as to build a music career. Rather, I think it makes sense for artists to construct relationships while still build a catalog of work. We all understand the worth of a network of fellow artists, it makes sense for artists to create relationships over time with those in the business of music.


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