I can not recall the last new CD I got from a main retail store. IF I buy any mainstream music it is usally for like 1.50 at a pawn shop. Everything else I get is either on wax, or metal from a online site that I don't mind giving money to.
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I can not recall the last new CD I got from a main retail store. IF I buy any mainstream music it is usally for like 1.50 at a pawn shop. Everything else I get is either on wax, or metal from a online site that I don't mind giving money to.
I buy CDs for my collection so eat me.
i still buy cd's but not many, 2 this whole year. call me old fashioned, but i dont beleive in stealing, even from a thief, just how i am.Quote:
Originally Posted by Master of 7s
EDIT: ok turns out i have bought 6 cd's, my error, 2 of them(shakira and darkness) i shouldnt have because they turned out to only have a few good songs and i should have i-tuned them, 2 were from christain groups(roeper and five iron) who dont belong to major lables and had really good full-cd's, and 2 very good cd's from major lables with dropkick murphys and tori amos. six in a year, thats a significant drop in purchasing, i used to buy that in a 2 week period.
I'm a pawn shop and ebay whore. :pQuote:
Originally Posted by Master of 7s
Either theft or infringement. Take your pick.Quote:
Originally Posted by frostwolf ex
It's my opinion that American radio needs more Austrailian novelty acts such as Men at Work. Start writing songs about kangaroo's and vegemite. GO GO GOQuote:
Originally Posted by arjue
You know, just because artists don't see a lot of money from CDs, doesn't mean that not buying CDs doesn't screw them.Quote:
Originally Posted by Master of 7s
Perfect example is Sonim, my favorite singer when it comes to Japanese music. She has had some great music, and she was with a big label, but her CD sales weren't spectacular. So, the label dropped her, just like that. She's now with an indie label, and trying to continue on with her thing, but because she's not on a bigger label with the big label push, she's having a harder time now getting noticed in the Japanese music market.
I really do wish we were at the point where CD sales didn't matter anymore, and all artists could just release their music directly to the consumer. We aren't there yet, though.
The artists make about $1 an album. They really don't make a lot of money off of touring either. Most of the money they earn from touring goes back into paying the roadies, the manager, the light crew and travel expenses.Quote:
Originally Posted by Master of 7s
My cousin once played an event in front of a crowd of around 5,000 people. His band made about $200 each, after paying everyone else.
Bands tour, to promote thier albums actually. Notice how whenever your favorite band is coming to town, every radio station that plays thier style of music, will up the playtime for said band. Royalties from airplay go up, as do album sales.
The major revenue that a band earns from touring, comes from t-shirt sales and other fan junk.
Ah, but the fewer CDs we buy, the faster it'll happen.Quote:
Originally Posted by shidoshi
Record Labels are hilariously terrible. There was an article I read the other day (no idea on the source) that mentioned how Sony and some other labels are implementing anti-copy protection on CDs so that people can't copy the music into iTunes and put it on their iPod and MP3 players and stuff. Some artist got really pissed about it being on their album, because they never signed anything that said Sony could do that to their album, so they posted on their official fan site how to get around the protection (and it was 'removed' a day later).
Record companies are essentially discouraging people from actually PURCHASING the CDs now. MP3 players are huge, and will kill portable CD players, so why are they ignoring that and going about their business like they don't exist? That anti-MP3 player shit is just pissing off the dwindling market of those who still regularly buy CDs.
Let's just start off by saying that an artist, early in his career on a major label, is not goint to make shit unless they:
A. Are fabulously successful, and their debut album goes gold or platinum (and even then, after advances, might still only be making a "decent" living)
B. Had a massive following before they signed with a major, and were able to squeeze the record company for some decent royalties, based on the fact that the artist has a track record of already being succesful.
This number varies drastically from artist to artist, and is based off of the number of points that artists are able to negotiate in their contract. A typical "first" major label contract will grant the artists about 6-8 points from gross retail. So if we ballpark a CD at about 15.99 (what you would most likely see at a chain store like Tower or Sam Goody), and the artist is getting 7 points, thats $1.12 a CD. However, established artists who are making big bucks for major labels can renegotiate contracts to make as much as 20-25 points per record, and since artist's CD's in this group tend to go for more like 18.99 at a chain store, they are making more like 3.00-4.00 a CD. If that artist even goes single platinum, they are rolling in it, as long as they are in the black from their advances. This works out OK for the label as well, since they don't have to dump as much promo money into an already established artist.Quote:
Originally Posted by gamevet
True, the cost of the production certainly cuts into the bottom line for the artist, but to say that they don't make alot of money off of touring as a blanket statement would be untrue. For instance, many mid level artists make their living off of touring. This is due to the fact that since they are playing venues that don't require huge audio or lighting setups, and almost always use the house audio and lighting, need not tour with such technicians and engineers, and subsequently need not pay their salaries. Managers fee's are almost always 15% of net profit (as long as the artist was not stupid enough to let a manager con them into letting him take 15% of gross.) Bands either work on percentages of the door, guarantees, or a combination of the two. Most, if smart and can draw big crowds, use a combination. This makes sense for both the club and artist. If the venue fails to promote, or for whatever other reason fucks the event up, the artist still gets it's guarantee. However if the place sells out, the artist will get it's guarantee plus the percentage of every ticket that goes over the already established guarantee. The venue sells massive amounts of alchohol, and banks bigtime. Even mid level artists can easily walk away with 20 or 30 grand in their pocket, not counting merch sales, if they pack the shit out of a mid sized venue (2-5000)Quote:
They really don't make a lot of money off of touring either. Most of the money they earn from touring goes back into paying the roadies, the manager, the light crew and travel expenses.
Were they the headliner? If not, most of that money went to the headlining act, I can promise you this.Quote:
My cousin once played an event in front of a crowd of around 5,000 people. His band made about $200 each, after paying everyone else.
This used to be, and still is to a degree, the case, but it's becoming more of a reciprocating venture than it used to be. Albums being in major rotation on radio stations are advertisements not only for album sales, but for live performances as well. The reason you see artists get more spins previous to a performance is because most stations are in some way collaberating with the artists label/tour support to increase revenue for both parties. Artists offer free tix/backstage passes/hang with the band types of things to give away on the air, which draws more listeners (in turn increasing the stations ratings), which makes them hear about the event more, which promotes the event, resulting in increased tix sales. Everyone wins.Quote:
Bands tour, to promote thier albums actually. Notice how whenever your favorite band is coming to town, every radio station that plays thier style of music, will up the playtime for said band. Royalties from airplay go up, as do album sales.
This is sometimes and sometimes not the case. Bands can make killings off of show merch, which is way overpriced ($25 tour shirts) but artists early in their careers usually pay royalties out the ass of their merchandising to their labels, which probably got them their merchandising deal to begin with. On the other hand, mega-stars will keep their merchandising completely seperate from their label, thus earning them huge amounts of money.Quote:
The major revenue that a band earns from touring, comes from t-shirt sales and other fan junk.
In a nutshell, it depends on the artist, the contract, and the label, and the tide is turning towards bands making more money from live performance than from record sales. Boo-fucking-hoo for the record conglomerates