This is factually incorrect. If you own your master recordings, you stand to make $3,500 to $5,500 per million streams on Spotify. Apple Music and Tidal pay even better. This is why Taylor Swift is re-recording her entire Big Machine Records catalogue. While Spotify did shift consumers away from buying singles and albums as individual items, they also opened a new revenue source for independent artists.
Can you point me to a current-day independent artist which hasn't been signed to a label that is pulling this amount of money just on streaming?
If you're already big enough that, i.e., XL Recordings can ask you to make a record without getting rights on the master, I wouldn't count it as a good example of "indie artist".
I make about $4,000 per million streams on Spotify for the tracks I’ve released independently. For label releases I make less, but the label promotes them so that sometimes results in more net revenue. I have a bit over 10M Spotify streams over the last 3 years.
Also, Spotify promotes my music via editorial playlists and algorithmic (eg Radio or Discover Weekly), so I’m probably making a lot more total revenue than I would have on iTunes.
are you sure he’s doing 5k/month just by streaming? No syncs nor shows? Also if Wikipedia is right he’s signed with Columbia Records. AFAIK the only artists making that kind money just by streaming while having no strings attached EVER (No label distro, no label A&R, no big tent agencies) are Macklemore and Chance The Rapper. Just two guys over millions of artists on Spotify.
I can’t find the article from before he signed with Columbia (might’ve been a YouTube interview with him, can’t remember for sure), but yes, I’m fairly certain he was doing well over 5k per month with no major label.
Also note the terms of his deal with Columbia are unlike most major deals in that he has a 50/50 profit split after his advance payment got recouped, retains either full control or 50/50 control of masters, etc.
Here you go, he mentions it in the first 30 seconds of this video. He says roughly $100k per month before any label involvement: https://youtu.be/OebNTkTfzHU
I’ve seen this argument repeated ad infinitum by opponents of voter ID. The idea that minorities and poor people are incapable of acquiring proper identification is so prejudice. Proper ID is essential for so many things. Almost everyone has one and can acquire one.
OP offered a bunch of reasons why the law proposals are discriminatory and insidious things they do to make it hard to obtain an ID.
You claim to believe it's not and offer no counter point outside of you feel it in your gut and a desire to deflect and attack OP for making the point by calling the poster prejudice.
I just read through each link and now fully understand the point you were making based on facts and evidence. You are right. I stand corrected. Thank you for taking the time to include so many sources. I really appreciate it.
Just tried this out. The stem isolation is pretty cool, but looking at the spreadsheet of chords it spit out, it seems to miss out on a lot nuances of chords. The song I used to test was Again by Mac Ayres[1], which I compared to some tabs I found on Ultimate Guitar[2] which I've played and sound very accurate.
The main 3 repeating chords, Ebmaj7 Gm7 Abmaj7 are close to what Fadr spit out, but it missed them being 7 chords. It gave D# Gm G#.
Getting a little spicier with chords, there's a move where the Cm7 has the bass move down a half-step to Cm7/B. Fadr wrote it as a single Cm chord for the whole thing. That's the kind of thing that can be tricky to figure out. It kinda seems like it doesn't know anything outside of straight-up major and minor chords at all? Cause I don't see a single 7 in the entire spreadsheet, and that's not even that complex of a chord.
Still a neat tool, and trying to learn off of a stem track would probably be easier than the whole ensemble. But I think there's tons of room for improvement in the space.
I think the parent comment is referring to pitches sent to successful pop artists who write none of their own lyrics or melodies and take no part in the development of the music beyond recording their vocals. Their personality, looks, and voice are their valuable contribution, not their songwriting/production abilities. They’re always looking for hit songs to jump on and record, not write themselves.
The implications of this kind of technology are wild. Imagine seeing a tribute show where the lead singer runs their voice through a voice changer that matches whatever artist they’re covering.
That will just sound like lip syncing unless the cover band undergoes some heavy cosmetic surgery. The fun of a cover band is watching a rendition of a song where the band are being themselves.
For a cover band sure, but a "tribute show" I associate more with trying to exactly match an experience no longer available (the tribute-ees are dead or aged out in some way).
People aren't going to the Van Halen Tribute Show because they're really excited to see John Smith's creative reinterpretation of Eddie's guitar solos.
Why not skip the cosmetic surgery and just use a projected, AI mapped face swapper? I do think you would still hear the variation from the live performer, e.g. their rhythm, their breath, their vocal fluctuations, simply with the AI voice changer software slapped on top of it.
I’m not sure how fun the concert would be – you’re right about that – but tech like this is definitely has the potential to transform many facets of the entertainment industry.
Thanks for sharing this comment. I’ve had similar feelings recently, and I came to the realization that all parents will fail to teach their children certain things. Life has a funny way of revealing those areas to us as we age. Part of adulthood is the painful process of discovery and learning for ourselves.
By the way, I think 30 is the perfect age to figure out who you really are.
Something I do love about classical recordings is how differently some conductors and orchestras might interpret a specific piece. An example:
The third movement of Debussy's Nocturnes (titled "Sirènes") is most often performed with a women's chorus. My favorite recording of this piece was performed with children's choir instead. The difference in vocal quality is marked. The children's pure vocal tone feels far more eerie and siren-esque than the harsher vibrato and warble of a female chorus.
Ironically, I have no idea who conducted/recorded this version of the piece.
I recommend this to everyone will listen: Christian Tetzlaff’s most recent recording of the Bach Sonatas and Partitas for unaccompanied violin. It was from around 2017 or so. Just superb in every way. His interpretations have a real improvisatory character that fits with what we know about Bach’s own performance practice. They are recorded on a modern instrument but his articulations sound like Baroque equipment.
I think both curiosity and studiousness can exist together. The vice of curiosity has led me down many new, exciting paths of learning that have changed my life and career in marvelous ways. When you say..
> prudent allocation of attention to what you should
How do we even define "what" outside of a basic moral context? "What" is a constant moving target throughout life, something extremely personal that's based on our experiences and knowledge.
I've never been struck by lightning, but I was about 15 meters from a tree that was struck at the end of my cul-de-sac. My brother and I were huddled under a large cement garage carport watching the thunderstorm with a perfect view of the tree. Lightning struck it at the base and immediately split parts of the tree off. I've never seen or heard anything more awe-inspiring/terrifying.
(Friendly reminder to always observe lightning under the comfort and safety of cover).
I tend to use the Brave browser playlist to play ad free YouTube videos with my phone locked, but the “play when app is minimized” function for Vanced would be awesome. Thank for the tip.
