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DRM Weekly

 
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Uisce Beatha
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DRM Weekly
« on: November 28, 2007, 08:12:29 AM »

Long read but worth it for a glimpse into the minds of these clowns.

Wired: Universal Chief Doug Morris

Quote
Morris insists there wasn't a thing he or anyone else could have done differently. "There's no one in the record company that's a technologist," Morris explains. "That's a misconception writers make all the time, that the record industry missed this. They didn't. They just didn't know what to do. It's like if you were suddenly asked to operate on your dog to remove his kidney. What would you do?"

Personally, I would hire a vet. But to Morris, even that wasn't an option. "We didn't know who to hire," he says, becoming more agitated. "I wouldn't be able to recognize a good technology person anyone with a good bull*feces* story would have gotten past me." Morris' almost willful cluelessness is telling. "He wasn't prepared for a business that was going to be so totally disrupted by technology," says a longtime industry insider who has worked with Morris. "He just doesn't have that kind of mind."
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"If you're darker than a caramel, Reverend Al speaks for you." - Aasif Mandvi
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Uisce Beatha
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Re: DRM Weekly
« Reply #1 on: November 28, 2007, 08:18:50 AM »

Quote
"It was only a couple of years ago that we said, What's going on here?' Really, an album that someone worked on for two years is that worth only $9, $10, when people pay two bucks for coffee in Starbucks?" Morris sighs.

What a knob.  How much of that $9-10 (or $16-20) does he give the artist?  Poor, picked on martyr trying to save his $7 billion company.   
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"If you're darker than a caramel, Reverend Al speaks for you." - Aasif Mandvi
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Aske
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Re: DRM Weekly
« Reply #2 on: November 28, 2007, 08:30:41 AM »

LOL.  these dinosaurs thought they could keep their strong arm mafiapoly  running forever (or at least to their graves).   Not one to advocate illegal activity (on either side of the isssue)..... but also not realyl sympathetic to their 'losses' either.
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Russia has invaded a sovereign neighboring state and threatens a democratic government elected by its people. Such an action is unacceptable in the 21st century.
--  Chimpy McFlightsuit, CEO of Bu$hco Industries of 'Merka
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Re: DRM Weekly
« Reply #3 on: November 28, 2007, 08:52:21 AM »

Two questions:

1) What do these record companies offer artists that they can't get elsewhere?

2) What percentage of sales do artists earn from these companies?
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Uisce Beatha
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Re: DRM Weekly
« Reply #4 on: November 28, 2007, 09:10:27 AM »

1.  A lot less than a decade ago. 

2.  I don't know if there's an across-the-board answer but I've read on multiple occasions that it's ~$1 per CD.  And that's after recoupment. 
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"If you're darker than a caramel, Reverend Al speaks for you." - Aasif Mandvi
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stroh
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Re: DRM Weekly
« Reply #5 on: November 28, 2007, 09:13:37 AM »

Oooh a buck a cd.  Ouch.

Let's not forget all the alcohol, drugs, *humid grotto*, and the intangible:  "Living like a rock star".
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Clive
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Re: DRM Weekly
« Reply #6 on: November 28, 2007, 09:25:40 AM »

LOL.  these dinosaurs thought they could keep their strong arm mafiapoly  running forever (or at least to their graves).   Not one to advocate illegal activity (on either side of the isssue)..... but also not realyl sympathetic to their 'losses' either.
I'm not a fan of Callaway's pricing structure, either, but (a) I wouldn't boost a set of irons off the tailgate of a delivery truck outside Golf Galaxy, and (b) I'd have even less respect for a guy who did boost a set in that manner.  At least Callaway is playing (aggressively) by the rules.

ASCAP was set up as a coalition of the people who generated the music product.  How hard can it be for a similar web-based commerce idea to be implemented by them and for their benefit?
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Re: DRM Weekly
« Reply #7 on: November 28, 2007, 09:26:27 AM »

Seriously on #1--I'm sure its less than a decade ago, or even a year ago. 

What can they offer artists NOW that artists can't do on their own or elsewhere?

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Aske
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Re: DRM Weekly
« Reply #8 on: November 28, 2007, 09:29:39 AM »

that $1/cd or so is typically about after an album goes platinum.

the studios front the costs for recording/mastering/production ($1M-$10M  depending on the artist, time involved, etc)  yada yada blah blah that matters for shiny clean pop music sound.  after X cd sales they consider that money recouped and from there the artist can get anywhere from $.50 to $1. ... maybe $2-$3 for the complete biggest name stars in the world ...   

then they do the same thing with tours, front all the costs, take all the revenue until some profit level is achieved.  which is why bands are so big on selling merchandise on the road-  where all the $ is for them in the grand scheme of things.



blader-  only the biggest name artists with already established bank accounts could front the costs for recording/production/manufacturing/touring.    otherwise, they would simply revert to another lending scheme (possibly through a bank or investor group)... which would arguably probably be better than the current studio model treats the artist.

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Quote
Russia has invaded a sovereign neighboring state and threatens a democratic government elected by its people. Such an action is unacceptable in the 21st century.
--  Chimpy McFlightsuit, CEO of Bu$hco Industries of 'Merka
Aske
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Re: DRM Weekly
« Reply #9 on: November 28, 2007, 09:31:03 AM »

LOL.  these dinosaurs thought they could keep their strong arm mafiapoly  running forever (or at least to their graves).   Not one to advocate illegal activity (on either side of the isssue)..... but also not realyl sympathetic to their 'losses' either.
I'm not a fan of Callaway's pricing structure, either, but (a) I wouldn't boost a set of irons off the tailgate of a delivery truck outside Golf Galaxy, and (b) I'd have even less respect for a guy who did boost a set in that manner.  At least Callaway is playing (aggressively) by the rules.

ASCAP was set up as a coalition of the people who generated the music product.  How hard can it be for a similar web-based commerce idea to be implemented by them and for their benefit?

the difference is that while callaway might be playing by the rules,  the RIAA certainly isn't.  extortion lawsuits, falsified evidence, bogus complaints, misinformation campaigns against the public, etc.
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Quote
Russia has invaded a sovereign neighboring state and threatens a democratic government elected by its people. Such an action is unacceptable in the 21st century.
--  Chimpy McFlightsuit, CEO of Bu$hco Industries of 'Merka
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Re: DRM Weekly
« Reply #10 on: November 28, 2007, 09:31:06 AM »



ASCAP was set up as a coalition of the people who generated the music product.  How hard can it be for a similar web-based commerce idea to be implemented by them and for their benefit?

That's what I'm getting at.  I think I have an idea, too.  But I'm so clueless about the industry, I don't know if its being done. 

Put it this way, I asked my daughter (15)--who lives for music--if CD's and radio were important sources of music for her collection, and she looked at me like I'd just fallen out the door of a spaceship.
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Aske
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Re: DRM Weekly
« Reply #11 on: November 28, 2007, 09:33:42 AM »

let me qualify my earlier statement-  only the biggest bands already out there could afford to front the costs for recording 'quality' and touring 'quality'  at the level it currently exists today.  there are tons of  much more affordable avenues possible that offer significant quality, but not quite the 'shine'  most mainstream fans are accustomed to.
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Quote
Russia has invaded a sovereign neighboring state and threatens a democratic government elected by its people. Such an action is unacceptable in the 21st century.
--  Chimpy McFlightsuit, CEO of Bu$hco Industries of 'Merka
Uisce Beatha
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Re: DRM Weekly
« Reply #12 on: November 28, 2007, 09:37:22 AM »

Seriously on #1--I'm sure its less than a decade ago, or even a year ago. 

What can they offer artists NOW that artists can't do on their own or elsewhere?

Radio (FWIW these days anyway - not as much IMO).  An up-and-coming artist is no way going to get radio play without industry help.  Radio leads to single sales leads to album sales leads to better contracts. 
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"If you're darker than a caramel, Reverend Al speaks for you." - Aasif Mandvi
"Well, you can tell by the way I use my walk, I'm a woman's man: no time to talk." - stroh
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Re: DRM Weekly
« Reply #13 on: November 28, 2007, 09:41:45 AM »

that $1/cd or so is typically about after an album goes platinum.

the studios front the costs for recording/mastering/production ($1M-$10M  depending on the artist, time involved, etc)  yada yada blah blah that matters for shiny clean pop music sound.  after X cd sales they consider that money recouped and from there the artist can get anywhere from $.50 to $1. ... maybe $2-$3 for the complete biggest name stars in the world ...   

then they do the same thing with tours, front all the costs, take all the revenue until some profit level is achieved.  which is why bands are so big on selling merchandise on the road-  where all the $ is for them in the grand scheme of things.



blader-  only the biggest name artists with already established bank accounts could front the costs for recording/production/manufacturing/touring.    otherwise, they would simply revert to another lending scheme (possibly through a bank or investor group)... which would arguably probably be better than the current studio model treats the artist.


That's all what I figured.  There is hardly a pro-golfer out there--and the vast majority have failed-- who hasn't started out with an investors syndicate. 

Seems to me that young artists are still sort of habituated to viewing the record label contract as the brass ring, when it sounds like nothing has really changed and its little more then the cleverly disguised ball and chain.  The labels were a necessary technology bottleneck (albums and later CD manufacturing) and perhaps marketing expertise...but is any of that necessary in a digital age?    I know a group of kids who recorded a CD on their own as 8th graders.

 
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MFAWG
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Re: DRM Weekly
« Reply #14 on: November 28, 2007, 09:42:18 AM »

Quote
ASCAP was set up as a coalition of the people who generated the music product.  How hard can it be for a similar web-based commerce idea to be implemented by them and for their benefit?

In the new paradigm where the product can go straight from the artist to the end user with the click of a mouse, what possible benefit could such an organization be to the artist?
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The things that will destroy America are prosperity at any price, peace at any price, safety first instead of duty first, the love of soft living and the get rich quick theory of life. -- Teddy Roosevelt
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