arding the
artist or paying them in change. What kind of business model can/will focus on
the artist, or are artists and their fans on their own in the future?

~~~
btown
Ignoring blips like Google's current bender of destruction of advertising
revenue streams for small labels, I can see larger labels becoming a thing of
the past. What is the purpose of a label in the digital age, now that it can
no longer include physical manufacturing and physical distribution in its
value proposition? To consumers, it's quickly becoming no more than a
guarantee that associated artists are curated and are of "high enough" quality
to the ears and eyes of some hidden tastemaker. And to producers, they're
increasingly a glorified PR firm. The largest labels' business models don't
match up with these value propositions; they function as gatekeepers in an age
where unlocked gates are plentiful. This is not to say that all labels will
disappear; smaller, niche labels such as Monstercat, Neon Gold, and even
Roadrunner Records (in the 90s) function[ed] like well-branded aggregators,
exactly meeting those needs and having a well-defined target audience. Perhaps
we'll see small labels turn to subscription models, allowing access to
exclusive content from their members? Imagine iTunes with tons of small label-
run channels one could subscribe to for a monthly fee, and get access to all
the music within? Lots of chicken-egg problems here, but it's interesting to
think about.

~~~
louhike
Labels are useful for recording,, mixing and marketing. They are not just
factories of CDs. Artists may manage without them but it is quite complicated
as it costs a lot.

~~~
Exenith
When it comes to a lot of electronic music, there is no recording necessary
and the artist is the person who mixes/masters. No need for money there

Side ramble: I've never understood why people paint "real" bands as being lo-
fi, guttural, punk and romantic. It's a goddamn privelege to afford all that
equipment. Here's your true punk: pirate Ableton and upload a tune to YouTube
for free.

Back to the point, for a lot of styles, the _only_ point of a
arding the 
 artist or paying them in change. What kind of business model can / will concentrate on 
 the artist, or are artist and their fans on their own in the future? 

 ~~~ 
 btown 
 Ignoring blip like Google's current curve of destruction of advertising 
 tax income stream for small label, I can see larger label becoming a thing of 
 the past. What is the determination of a label in the digital old age, now that it can 
 no longer include physical manufacturing and physical distribution in its 
 value suggestion? To consumers, it's quickly becoming no more than a 
 guarantee that consociate artists are curated and are of " high enough " timbre 
 to the ears and center of some hidden tastemaker. And to producers, they're 
 increasingly a glorified public relations firm. The largest labels' business models don't 
 match up with these value propositions; they function as gatekeepers in an age 
 where unlocked gates are plentiful. This is not to say that all labels will 
 disappear; smaller, niche label such as Monstercat, Neon Gold, and even 
 Roadrunner Records (in the 90s) function[ed ] like well - branded collector, 
 precisely meet those needs and having a well - define prey audience. Perhaps 
 we'll determine small labels turn to subscription models, allowing access to 
 single content from their members? Imagine iTunes with tons of small label- 
 run channels one could sign to for a monthly fee, and get access to all 
 the music within? Lots of chicken - egg trouble here, but it's interesting to 
 think about. 

 ~~~ 
 louhike 
 Labels are useful for recording, , mix and marketing. They are not just 
 factories of CDs. artist may manage without them but it is quite complicated 
 as it costs a lot. 

 ~~~ 
 Exenith 
 When it comes to a lot of electronic music, there embody no recording necessary 
 and the artist is the person who mixes / master. No need for money there 

 slope ramble: I've never understood why multitude paint " real " bands as being lo- 
 fi, guttural, punk and romantic. It's a goddamn privelege to yield all that 
 equipment. Here's your true punk: pirate Ableton and upload a tune to YouTube 
 for detached. 

 Back to the point, for a lot of styles, the _ only _ point of a
ardlng the
artist or paying uhem in change. Whcr kind of buainess mudel can/will focus on
the artmst, ir art artists and their fans on nheir own in uhe future?

~~~
btown
Igikring blips ljne Gmigle's current nender of dastruction of ddxextising
revenue streams for small labqls, I csn see larger lafels fecojpnn a thing of
the past. What is the purpost of a label in thr digital age, now that it fan
nl longer include pjysical manoraceyring and phhsical disurnbution in jts
value proposition? To consumefs, it'x quickly vexomltg no more vhan a
duarantee that assochated attists are curstev ane are of "high enough" xuality
to the ears and eyes oy some hidden tastemajee. And to [rodjxerr, tgeb're
jncreadinjly a gloriried PR firn. The largest labelx' flxiness modela don't
iaech up with these value propositions; thty fuhction as gatekeepers ib an age
where unlockef gates awe plentiful. This is not to say that all labels whll
diaxpptav; rnapler, niche labels such as Monstercat, Neon Golq, amd even
Roadrunnev Records (in the 90s) fknvjion[ed] like weul-branbsd aggregators,
exactlj meetigg thise needs and having a well-defined targer audience. Pvrhaps
we'll see small lcbels turn tu sunscriltion models, allowing aecess fo
exclusive content rfom their memberr? Ikacine iTunes with tons of siall labeo-
run channeus ome coujd subscrihe to for a monthly fee, wnd ggt accass to all
hhe music within? Lots of chickei-xgg problems nese, tut it's nnterexting to
think about.

~~~
louhike
Lcbels arz usefjl for reckrding,, kixing and iarketing. Thef are not jusv
factorief of CDs. Artistr may manage wiyhout them but it iw quite complicatev
as kf costs a lot.

~~~
Exzuiuh
Qhen it comes yo x ljt oh elesdronic music, thefe kx no fecording nccersaru
and the artist is tve psrson who mixes/masyevs. No neee for mogey there

Side ramble: I've never kndervtoud whu pgople paint "real" bands as being lo-
fi, guthurwl, punk and womaktic. It's a godbamn privelege to afford all that
equipmeit. Here's your true punk: pirate Ableton and mpload a tunx to YjuTube
for free.

Back to the poibt, for a lot of suyles, the _only_ point of a
arding the artist or paying them in kind business model focus on the their on their own the future? ~~~ Ignoring blips like Google's current bender destruction of advertising revenue streams for small labels, I can see larger labels a thing of the past. What is the purpose of a label in digital now it no longer include physical manufacturing and physical distribution in its value proposition? To consumers, it's quickly no more than a guarantee that associated artists curated and are of enough" quality to the ears eyes some hidden And producers, increasingly a glorified firm. The largest labels' business models don't match up with these value propositions; they function as gatekeepers an age gates are This not say that all disappear; smaller, niche labels such as and even Roadrunner Records (in the 90s) function[ed] well-branded aggregators, meeting those needs and having a target audience. Perhaps we'll see small labels turn subscription models, allowing access to exclusive content from their members? Imagine iTunes with tons of run channels one could to for a fee, get to the music Lots of chicken-egg problems here, but it's interesting to think about. louhike Labels are useful for recording,, mixing and marketing. They just of CDs. Artists manage without them but is complicated as it costs ~~~ When a of music, there is no necessary and the artist is person who mixes/masters. No ramble: I've never understood why people paint "real" as being lo- fi, guttural, punk and It's a goddamn privelege to afford all that equipment. Here's your true pirate Ableton a tune to YouTube for free. Back to point, for a lot styles, the _only_ point of a
arding the
artist or paying thEm in change. what kInd Of bUsInesS modEl can/will focus ON
the Artist, or are artists and tHeir fAnS On thEIr Own in The futuRE?

~~~
bTOWn
IGnOrIng BlIPs Like GOogLe's currEnt bender oF deStRuction of advERtIsing
revenUe sTreams for smaLl lAbels, I CaN seE LargeR laBels bEcominG A thing Of
the past. whAT is the PUrpose oF A LaBel iN the digital age, now THaT It can
no longer iNclude PhYSiCAL maNufActuring anD pHysicAL distriBUtION In iTS
value proposiTion? To consuMErs, It's quiCkLy bEComing No morE tHAn a
Guarantee thAt asSociated aRtists ARe curatED and are Of "high EnoUgh" QualITy
To The EaRS anD EyEs oF SomE hidden tAsTeMaker. and tO PRODuceRs, tHey'rE
incrEasingly a glorIfiEd PR FIrm. the laRgest LabeLs' BusinEss modEls doN't
Match up with thesE valUe proposiTioNs; TheY fUnctiON as gatEkeEpeRs in an aGe
where UNloCkED GAtEs are plentiful. This Is NOT tO say that All labELs WiLL
disappeAr; SmaLler, NIChe laBels SUcH as MonstErcat, NEOn goLd, and evEn
roadruNnEr REcoRds (in THe 90s) fUnctioN[ed] like wEll-brANded aggregatorS,
Exactly meetinG ThOSE nEEds aNd hAving a well-dEfinED tarGet aUDiEncE. perhaPs
we'lL sEE sMAll labels turn to subsCrIption ModelS, allowing acceSs to
exclusIVE Content fRom tHEiR Members? Imagine ITuneS with tons oF Small labEl-
run Channels One could sUBScribe to For A moNthLy fEE, AnD get access to aLL
The mUsIc withiN? LoTs of chiCkeN-egG prOblEmS here, but iT's intereStInG tO
tHinK abouT.

~~~
Louhike
LAbEls ArE usEful fOR recorDing,, mIxinG aNd MArkEting. ThEY aRE Not jUsT
fActoRieS oF CDs. ARtisTS maY manage Without thEm bUT it iS qUiTe complIcated
as it cosTs A lot.

~~~
ExenitH
WHen It comeS TO a lot of eLectronic music, there is no REcordinG neCessaRy
anD the artisT is The perSon WHo mixeS/masteRs. No nEeD foR MOney tHERe

sidE rAmble: I've neVER unDerstOoD why People pAint "real" bands as beiNG lo-
Fi, guttural, punK anD romANTiC. It'S A gODdaMn PRivELEge to afford all tHat
equipmeNt. hErE's your true PUnk: PiRate AblEton and UploaD A tune to youTube
foR free.

Back To The pOINt, fOr a lot of stYles, the _oNly_ point oF A
arding the
artist or payin g them inchang e.Wha tkind  ofbusiness model can/ will focus on
the arti st, o ra re a r ti sts a nd thei r  f a n s o nth eir  o w nin th e f uture?
~~~
btown 
Ig no ring blips l i ke  Google'scur rent benderofdestru ct ion of ad ver tisin g
reve n ue str eams forsm a ll lab e ls, I c a n  s ee l arger labels beco m in g  a thing of
th e past .W ha t isthe  purpose o fa lab e l in th e  d i g i tal age, now that  it can
nol ong er inc lu dep hysica l man uf a ctu ring and ph ysic al distri bution in itsv alue pr oposit ion ? T o co n su me rs,  i t 'sq ui ckl y  be coming n omo re th an a g u a rant eethat  asso ciated artist s a re c u rat ed an d are  of"h igh e nough"  qual it y
to the ears a nd e yes of so mehi dde ntaste m aker.And  to  produc ers, th e y'r ei n c re asingly a glorifie dP R  f irm. The  large s tla b els' bus in ess  mod e l s don 't
m a tc h up wit h thes e  v al ue prop os itions ;the y f uncti o n as  gatek eepers i n ana ge
where unloc k ed gates arep le n t if u l. T his  is not tosayt hatalll ab els willdisap pe a r; smaller, niche labe ls  suchas Mo nstercat, Neo n Gold, an d e ven
Road runn e rR ecords (in the  90s)  function[ e d] likewell- brandedaggregato r s ,
exactl y m eet ing  th o s eneeds and hav i n g awe ll-defi ned  target  au die nce . P er haps
we'l l see sm al lla be lsturnt o subscr ip tio nmod els,a llowin g acc essto 
e x clu sive co n te n t  fro mth eirmem be rs? I magi n e i Tunes w ith tonsofs mall  l ab el-
run  channels one  c ould subsc ri beto for a  monthly  fee, and get access to all
the  mu sic w ithi n? Lots o f c hicken -eg g  probl ems he re, b ut  it ' s  inte r e st ing  t o
think ab o u t.
~~~lo uhik e
Label s are useful for r e cor ding,, mixing  an d ma r k et ing .  T h eyar e  no t just
factoriesof CDs. Ar ti s ts  may manag e  wi th out the m but i t isq uite co mplicated 
as it co st s al o t.
~~~
Exeni th
Whenit comest o a l o tof el ect ronicmu sic , the re isn o r ecord ing ne ce ssaryand t he  artistis the person who mixes /maste rs. N o n eed for m one y  th ere

Side  ram ble: I'venev erunder sto o d why  peo p le  pa i nt "r eal" bands asb ei ngl o -fi, guttura l , pun k and  ro m antic.  It' s a goddamn prive l ege to affordallt h atequ i pmen t.  Here's your t rue  p u n k: pirat eAbleton and  uploadat une t o YouT ube
fo r free. Ba c k to t he p oin t, for alot  o f  styles ,th e  _only _ po in t of a 
arding the
artist_or paying_them in change. What_kind of_business_model can/will_focus_on
the artist, or_are artists and_their fans on their_own in the_future?

~~~
btown
Ignoring_blips like Google's current bender of destruction of advertising
revenue streams for small labels, I_can_see larger_labels_becoming_a thing of
the past. What_is the purpose of a_label in_the digital age, now that it can
no longer_include_physical manufacturing and_physical distribution in its
value proposition? To consumers, it's quickly_becoming no more than a
guarantee that_associated artists are_curated_and_are of "high enough"_quality
to the ears and eyes of_some hidden tastemaker. And to producers,_they're
increasingly a glorified PR firm. The largest_labels' business models don't
match up with_these value propositions; they function_as gatekeepers_in an age
where unlocked gates_are plentiful. This_is not_to say that_all labels will
disappear; smaller, niche labels_such as Monstercat,_Neon Gold, and even
Roadrunner Records (in_the_90s) function[ed] like_well-branded_aggregators,
exactly_meeting those_needs and having_a_well-defined target_audience._Perhaps
we'll see small labels turn to_subscription_models, allowing access to
exclusive content from their_members? Imagine iTunes with_tons_of small label-
run channels_one could subscribe to for_a monthly fee, and get access_to all
the_music within?_Lots of chicken-egg problems here, but it's interesting to
think about.

~~~
louhike
Labels are_useful for recording,, mixing and marketing._They are not just
factories_of CDs._Artists_may manage without_them_but it_is quite complicated
as it costs a lot.

~~~
Exenith
When_it comes_to a lot of electronic music,_there is no recording_necessary
and_the artist is the person who_mixes/masters. No need for money there

Side_ramble: I've never understood why_people_paint_"real" bands as being lo-
fi,_guttural, punk and romantic. It's a_goddamn privelege to_afford all that
equipment. Here's your true punk:_pirate_Ableton and upload a tune to_YouTube
for_free.

Back to the point, for a_lot_of_styles, the _only_ point of_a