When Bloomberg reported that Spotify would be upping the cost of its premium subscription from $9.99 to $10.99, and including 15 hours of audiobooks per month in the U.S., the change sounded like a win for songwriters and publishers. Higher subscription prices typically equate to a bump in U.S. mechanical royalties — but not...
I think you thought of a lot of good things to do!
I don’t mean to be overly cynical about people, this is a problem of systems and normalization of things that shouldn’t be normalized primarily, the people are mainly just trying to survive.
Chicken and the egg, be the change you want to be, but also I am not absolutist about using Spotify.
I just think Spotify and other streaming services are vehicles of class warfare against musicians that also happen to play music. I understand if you like the playing music part!
I don’t subscribe to this cynical of a viewpoint, it isn’t inevitable that recording music is not valued labor, it is a cultural choice same as any other.
I live in the richest country on earth, it is a subjective choice to devalue the labor of musicians and decouple it from the profits of music companies.
They already fired half the employees who work for Bandcamp, Bandcamp is dead as an entity, just because is still flying through the air based on its own momentum yet and hasn’t coming crashing back to earth doesn’t mean that isn’t what is about to happen.
Bandcamp has always been amazing because it was run not like a massive corporation and those days are over.
Your statements paint a picture that you have no idea what I meant by “levels of fame” because fucking no one makes money off music unless you get lucky. There’s just too much because music is fun.
Again I don’t see any quantitative evidence to accept this framing of the status quo as inevitable or reflective of some fundamental tendency of human artists to overproduce art.
Capitalists have systematically stole the labor of musicians and normalized and absolutely absurd vision of austerity where the only way to make money is by doing things that people don’t want to do. It is absurd, and this ideology is pretty easy to locate the motivation behind, it makes us good compliant factory workers.
Many of us here might even be toxic in other contexts (I am certainly not perfect at keeping away from being overly negative or argumentative with people), but what matters is which version of someone we invite in the door to our community.
We can invite in any version of people we want, and I agree in general I think the fediverse invites in the better version of people and it is one of the primary reasons I love this weird, loosely connected blob of non-corporate social media.
Edit: I didn’t really make it clear, my interest in services like Bandcamp wasn’t higher quality music, it was that it was run by at least a relatively benign company that seemed to treat artists like actual human beings who artistic labor was inherently valuable. I would buy craft beer/cider/meader even if Budweiser or Coors Light was actually better quality beer, what I care about at the end of the day is my money going to someone or something good
I have spent a lotttt of time messing around with music production and learning what is pseudo-science (a whole fuckton of it) and what is real science. In all of the ABx testing I have done, read about, and seen demonstrated in person myself a quality MP3 with a decent bitrate encoding (idk 128kps or so?) using a decent algorithm and hell even a sampling rate of 41khz will produce an audio recording that when played back on a hifi audio system and level matched (EXTREMELY IMPORTANT, it is well known in mastering and mixing that a louder mix always sounds better at first glance) is indistinguishable from the source .wav file to the human ear (I don’t care how super human you claim your ear is).
People make this silly mistake of thinking that digitization introduces these sharp staircase edges into audio waveforms, which is actually kind of a hilarious misconception (which I completely understand, not trying to insult people’s intelligence) because the entire idea of converting a waveform (an analog non-bandwith limited phenomena) into a bandwidth-limited digital waveform is utterly reliant on the idea that the analog reproduction of a digital square wave/stair step function with a voicecoil and diaphragm, physical hardware components with shape, size and crucially mass, must necessarily create a smooth analog waveform because physical hardware components have mass and momentum, they aren’t theoretical ideas. It is better to think of a bandwith limited digital waveform as a series of movement commands for an RTS unit in Starcraft 2. The unit will naturally path between discrete points in a way that creates fluid movement, fundamentally it wouldn’t make any sense for the unit to just teleport directly to where you click and then teleport directly to where you click next etc…
I mean let us consider Vinyl records for a second, maybe you like most people have a vague perception they are kind of a hifi audio thing for people that reallllllly care about audio quality and don’t want to listen to chopped up and compressed digital audio files using a gasp consumer DAC that came stock in their laptop.
This quote from an old reddit thread discussing how CDs actually have far better signal-to-noise ratio fidelity than Vinyls (and really all decent quality digital audio files) about sums it up.
As for quantitative audio quality differences between the two mediums, the CD is superior. CDs operate at a sampling rate of 44.1kHz. These are discrete points, versus the continuous signal produced by a physical vinyl groove. However, the Nyquist-Shannon sampling theorem explains why a 44.1kHz sampling rate is sufficient for completely reproducing frequencies up to 44.1 / 2 or 22.05 kHz (See en.wikipedia.org/…/Nyquist–Shannon_sampling_theor… ). True response will actually be lower than 22.05 kHz due to the various anti-aliasing filters involved in the analog-to-digital and digital-to-analog conversion process to prevent frequencies above 22.05 kHz from aliasing down into the audible range (See en.wikipedia.org/wiki/Aliasing#Folding ).
Furthermore, the CD is recorded with 16 bits of resolution, results in an output with 65,536 discrete voltage ‘steps’ on the output. This does introduce some quantization noise, because the real signal is ‘rounded’ up or down to the nearest of the 65,536 steps. This is another area where some people claim vinyl is superior due to the lack of quantization of the output. But in practice, vinyl only has 9-10 bits of resolution (IIRC) due to manufacturing tolerances. To achieve around 16 bits of resolution, the tolerance of production for the groove would have to be on the order of 1/65,536 or ~0.001%. That’s not going to happen on those tiny grooves. Also, you have to consider the non-zero inertia of the physical pick-up moving across those tracks, which will introduce a separate set of distortions as it moves around.
Do artists have to pay to be on Spotify? Is that the issue?
The issue is that artists don’t make any actual money on Spotify, they are being forced to put their music on Spotify because that is where you have to put your stuff if you want to be a successful recording musician.
Meanwhile a couple of years ago the Spotify ceo said in defense of completely destroying any semblance of money making from recording music:
“There is a narrative fallacy here, combined with the fact that, obviously, some artists that used to do well in the past may not do well in this future landscape, where you can’t record music once every three to four years and think that’s going to be enough,” said Ek.
Streaming is great, but the structural evisceration of musicians and the value of labor in composing and producing is basically negative at this point given the huge amount of time that must go into a track to get it 100% there and ready for listeners.
Making music about money (like you continue to do) instead of about fun (like a good number of artists who aren’t topping charts do) makes it very difficult to balance what an artist should get paid against what consumers can afford to pay (assuming we remove all middle layers).
I am focusing on money because I think it is wrong the society exploits artists for their labor and then tells itself this is fine to do because artists love what they do.
Making music because money is the worst reason to make music, I don’t dispute that (why would I?) but that means for 99% of extremely talented musicians that they can’t devote very much time outside of day their job that pays the bills to make music. I want musicians to get materially rewarded for the labor of creating recorded music so they can afford to divert time from their day job to do it.
The math is very simple, every dollar less that a musician can realistically get from recording music is a dollar they have to make up elsewhere (especially in an environment where, at least in the US where I live, most people are on an economic knife edge and are one or two disasters away from their life spiraling out of control), and even if the amount of money an average moderately successful musician could realistically make even without a middleman like Spotify taking the lion’s share (to say the least), every dollar more a musician makes from their recording hobby on the side is one step closer to that musician being able to invest real time and energy to their craft (not just the vanishing amount of energy left over after they have paid the bills).
I live in the US, people cannot afford to devote actual energy and time into something unless it is their job or they are young and have a huge amount of extra energy. This is why I keep talking about money, it isn’t because I think musicians should approach music from a cynical money-making perspective, quite the opposite I want to live in a socialized society where housing, healthcare and basic necessities are provided as a baseline, so people can choose to develop their musicianship and audio engineering skills into professional careers without feeling like they are buying scratch tickets for a lottery they are likely never going to win anything from.
I don’t understand where you are getting the impression that I think money is the point, I never said that.
What I said is the labor of recording musicians being totally eviscerated by capitalism is a tragedy and that I don’t buy the narrative that this was inevitable for one second.
Maybe we will just look back at the period that is rapidly coming to a close as a golden era of music (and video games for that matter) where the tools became sophisticated, affordable and distributed for music production but venture capital hadn’t yet destroyed any last vestiges of the monetary value of musician’s labor (audio engineer’s included) in recording contexts.
Of course, I am sure Spotify and other streaming services are coming around to the value of recorded music being unsustainably low, I mean everybody knows it deep down right? That is why they are going to continue to raise their prices. From the perspective of Spotify, the artists that actually do the work of making Spotify a valuable company aren’t in principle excluded from their share of the pie when the line starts to go back up and the company has a chance to reverse some of the belt tightening and sacrifices everybody had to make to keep the lights on… but every single one of these vapid losers believes deep down in their bones that the rules of the game say that it isn’t the responsibility of shareholders or upper management of Spotify to just hand the musicians their fare share of the increasing profits, or even alert them to the fact that profits are in fact increasing in the first place. Musicians are not the customers nor the shareholders of Spotify, they are the commodified, interchangeable contractors that aren’t much different than the day laborers who hang out outside of most Home Depots in the US looking for handyman work.
This is like when the English saw that the only crop Irish peasants could afford to grow on the side for subsistence farming to feed their families, potatoes, were getting destroyed by a potato blight, and decided that it would send the wrong message to let those Irish peasants have any of the rest of the crops that Irish farmers were growing to sell to foreign markets to simply pay the English rent for their farms … crops that were not significantly impacted by the potato blight because it would make the Irish reliant on handouts and encourage a problematic tendency towards apathy and entitlement stubbornly latent in the Irish population.
Like I said in my op: it’s good service for the consumer. It might not be if enshittification ensues.
Are you seriously throwing might into this sentence?
I suppose you could say when you throw a ball up in the air it might come back down but that is kind of being disingenuous isn’t it.
Here’s another thought, doesn’t it impact the quality of the service for the consumer if the workers doing the labor to create the substance of the service, the basic thing that gives the service value to customers, are not being rewarded in a sustainable fashion for their time and labor?
Do you really think all your favorite artists are going to keep cranking out music in this environment? More importantly, do you think your favorite artists would have ever been able to invest the time and effort to get big enough to become that 1% of the successful musicians if the environment they began in was as hostile towards musicians earning money as it is now?
The amount of quality recorded music being released is going to plummet as musicians just stop bothering to do it. We will look back on the 2000s-2010s as a golden era where music production tools were distributed and affordable but venture capital hadn’t yet destroyed the ability of up and coming recording artists and audio engineers to actually devote the time and focus to becoming professional.
facepalm we are literally the same species of Homo sapiens we have been for thousands of years, the problem is most certainly inherent in the system and we need to smash the system and make something kinder.
American car companies honestly deserve to get obliterated here, sorry it is capitalism shrugs.
If you make shitty cars that are totally out of sync with what the world needs and that makes you massively lose against a country that is willing to actually make practical EVs… then your company deserves to go out of business.
Cheap EVs flooding the market is what American car companies deserve but if it’s all garbage wish . Com versions of Teslas then American consumers don’t deserve to have yet another disposable commodity forced on them.
China doesn’t make crap, that is very very outdated perspective on Chinese goods. Chinese corporations isn’t necessarily in the business of ensuring quality control all the way up the production chain, but more luxurious brands still make all their shit in China too, they just (sometimes) add an additional layer of quality control on top of the Chinese method of industrial production.
I am sure there are absolutely shit Chinese EVs, but I am absolutely sure that there are also extremely nice affordable economy Chinese EVs, because China is a massive country and has countless different industrial production chains. It is simply a matter of doing the work to figure out which ones are producing quality EVs and which ones aren’t, same as buying any other product directly from China instead of having a western brand do the work of finding the quality products being produced in China for you and relabeling it with their brand.
All of these comments about CCP subsidies and flooding the market with cheap goods are hilarious, considering fossil fuels have received several trillion (with a capital T) in subsidies every year for generations, and the fact that most of the products you buy are already manufactured in China.
Great point especially because the biggest way the US has subsidized fossil fuels isn’t even the trillions of dollars, it is the subsidization of fossil fuels through the foreclosure of young people’s future and every single generation after that running for thousands of years out into the indefinite future.
As police cracked down on anti-war protests on college campuses across the US in recent weeks, among those arrested were a pair of silver-haired 65-year-old professors armed only with their cell phones....
I am part of a secret plot to manipulate the US in a devious plan to…. check notes… get Biden to stop directly enabling genocide by continuously bringing up and forcing him to deal with it politically instead of just sweeping 50,000+ innocent Palestinians lives under the rug.
Wow, this is such a biased take ughhh, let me rewrite this in proper newspeak.
“Last saturday an officers gun ejected from their holster after making contact with a dino toy grabber, the man holding the dino toy grabber retracted their arm from the situation and the firearm was taken along with the toy grabber. The man holding the dino toy testified in court the other day that he felt he had no other choice but to retract the dino grabber once the situation escalated from a playful dino bite to a potential non-armed dino bite attack and the firearm was unfortunately stuck in the jaws of the toy dino grabber which caused it to also be retracted. The police officer was not questioned for comment and had $500 dollars in their wallet at the time which was confiscated by local anarchists who believed the money was most certainly involved in some kind of illegal crimes at some point (a practice that surely would not be legal in a civilized society).”
Bro Riker and Zuck exist on polar opposites of the Humanness Continuum.
I’m straight and I don’t think I would be able to resist Riker if he gave me that smile and sat down next to me with an irresistible swoop of his leg over the chair top (??) that showed off his majestic long legs.
Zuck doesn’t even want to sleep with you, he just wants to monetize the advertisement revenue from knowing you and someone else just had sex. He is watching, listening and… stroking his beard? Ewww.
Also, Tasha Yarr knows what the fuck is up, Data is probably a superb lover, don’t matter how awkward he is.
After announcing increased prices, Spotify to Pay Songwriters About $150 Million Less Next Year (www.billboard.com)
When Bloomberg reported that Spotify would be upping the cost of its premium subscription from $9.99 to $10.99, and including 15 hours of audiobooks per month in the U.S., the change sounded like a win for songwriters and publishers. Higher subscription prices typically equate to a bump in U.S. mechanical royalties — but not...
Addiction is a scary thing (lemmy.world)
Biden really, really doesn’t want China to flood the US with cheap EVs (www.theverge.com)
Dozens of professors among those arrested in campus protests | CNN (edition.cnn.com)
As police cracked down on anti-war protests on college campuses across the US in recent weeks, among those arrested were a pair of silver-haired 65-year-old professors armed only with their cell phones....
Chicago Man is ungovernable (lemmy.world)
Beards are magic (lemmy.world)