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That's why they call them superstars. It is the way of the music, as well as the movie industry, really just about every industry; the big names make the money, the other folks hope to get to open the show or be in a supporting role; with hopes that one day they will be the superstars. The great thing about music and movies is it is not always the one's that have the most money put into them, or make the most money in sales that turn out to be the best hits; so at least there is hope for the little guy.
My TunesPsalm 57:7 My heart, O God, is steadfast, my heart is steadfast; I will sing and make music.
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Belief in the possibility of great success is a great thing even if it's mostly illusion.
It's not just music, it's the same across the entire economy from opening your first restaurant or clothing shop to writing a new tablet app. The chances of making it big are vanishingly small. Like winning the Lotto small but the fact that some really do go from nothing to the big time is inspiring to the rest of us.
Bob
Biab/RB latest build, Win 11 Pro, Ryzen 5 5600 G, 512 Gig SSD, 16 Gigs Ram, Steinberg UR22 MkII, Roland Sonic Cell, Kurzweil PC3, Hammond SK1, Korg PA3XPro, Garritan JABB, Hypercanvas, Sampletank 3, more.
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Its good to see that you guys "get it" - maybe there's hope after all.
Keep the change,
--Mac
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Journeyman
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I guess it shows that in spite of the net being a great way for a smaller unknown act to get exposure, the big promotion/advertising budgets that follow the big stars across all the media is still making the difference.
People seem to home in on what they know best or have heard about from other sources when faced with the 'option anxiety' of apparently limitless choice. This also might be due to the fact that so many lesser known acts tend to follow the formulas of the big stars anyway so that the choice is really about a bunch of clones or the 'real thing' in many cases.
If you add to that the consideration that far from being the 'real thing' today's big stars are themselves largely manufactured clones sticking to tried and tested routines then you're left with the feeling that what we have now is more media but less actual diversity.
Alan
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I guess it shows that in spite of the net being a great way for a smaller unknown act to get exposure, the big promotion/advertising budgets that follow the big stars across all the media is still making the difference.
People seem to home in on what they know best or have heard about from other sources when faced with the 'option anxiety' of apparently limitless choice. This also might be due to the fact that so many lesser known acts tend to follow the formulas of the big stars anyway so that the choice is really about a bunch of clones or the 'real thing' in many cases.
If you add to that the consideration that far from being the 'real thing' today's big stars are themselves largely manufactured clones sticking to tried and tested routines then you're left with the feeling that what we have now is more media but less actual diversity.
Alan very astute observation, and well said, Alan! I'm hoping that that what you just said about diversity is the game changer that helps indie music promoted online by the little guy. Whereas the big acts are indeed formulaic clones of each other, there are some really unique acts gearing up in the wings (has anybody else noticed how much new music contains an accordion?), and now you don't have to be a search engine wizard to find them anymore. A variety of sites for bands have gotten big enough that they've attracted large numbers of indie artists. People who used to search record stores for interesting new artists now have a much easier time finding them. They may not know it yet, but the system is finally in place.
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The music business is like a scene from Dumb and Dumber when Carrey ask his love interest
"What are my chances?"
she replys "not good"
He says; "you mean not good like one out of a hundred"
she tells him "I'd say more like one out of a million"
He hesitates and then says
"So you're telling me there's a chance"
then he celebrates.
My TunesPsalm 57:7 My heart, O God, is steadfast, my heart is steadfast; I will sing and make music.
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Here's the statistic I didn't find in the report:
How is it determined who is in the 100% of musicians from which the 1% make 77% of the profits?
I would submit that for sales of music, there are WAY MORE people actually converting soundwaves to dollars these days, than in the past when you really did have to be signed to a label, to get into a studio, to get vinyl pressed and tape magnetized.
So, in light of this report, how do they count up to 100% of musicians? It's a very crucial statistic completely lost in the mud of the report. From what I can tell, it's artists that have streaming content available or iTunes content available. You all know people selling on iTunes - anyone that has put stuff at CD Baby in the past several years. They are counting all of them/us as part of the 100%.
Well no kidding - a bunch of stuff on CD baby is absolutely awful. A huge steaming pile of awful. Pick any CD at Random for sale at CD Baby. No cheating, just start clicking and listening. Smelly....
Read the whole report - it really doesn't hold up statistically as a finger pointing at the superstars. The claim is that superstars are eating 77% of the revenues. That number pales in comparison to what it used to be. I would guess that in the past, that number was more like 1% making 90+%
Watch the 'Produced by George Martin' DVD. In there George talks about the idiot executives at EMI who questioned George on why only a handful of the Beatles songs that he recorded made something like 80 or 90% of the entire EMI revenue - all labels included, not just Parlophone. The exec was asking why there weren't MORE hits by the Beatles, as in every single song they recorded. Superstar tyranny, as it's referred to in the report, was way more prevalent in the past than it is now. It was actually label tyranny.
It's a golden age of recording-->moneymaking. The playing field has leveled immensely compared to in the past. The superstars will always command the large chunks, but there are way more crumbs now than there used to be.
What has dried up, and many here attest to it - is the playing of live music other people have written and recorded, for gainful employment.
The two topics should not be confused. They are not very closely related to each other, other than due to the fact that many people now pay big dollars to go watch/hear/see pre-recorded music played by artists, bands and DJs. Nobody here who plays along with pre-recorded tracks - whether MIDI generated or pre-recorded audio files, etc. can point fingers with much credibility.
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Polls, surveys and statistics, not a one of 'em is worth the paper they're printed on, Scott.
"We need a survey!"
"Good, I'll do it. But first, what exactly are you paying me to find?"
And so it goes...
--Mac
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There's a book entitled Lies, Damned Lies, and Statistics. Srsly.
"My primary musical instrument is the personal computer."
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Yah, read that thing once.
My fav, from another tome:
"79% of all cited statistical data is invented on the spot, this statement inclusive."
--Mac
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
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Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
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Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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