"Did you know that 10.08 million new tracks were uploaded to online music streaming services in the first three months of 2023? That’s 120,000 new tracks every day, according to estimates from Nashville-based Luminate, a company that tracks music industry data."
I have no idea how accurate this number is, but I do know a massive amount of AI-generated music is being released. Luminate has an address in LA at 5670 Wilshire Boulevard, Los Angeles, CA 90036
Nashville based? Perhaps they have an office there also. It at least seems to be a legit data company.
We are fortunate here on the user showcase that ten people may have responded to one of the songs we posted early this morning. By the end of the day, 119,999 other songs got posted to the likes of SoundCloud and all the rest...lol
Having others listen to one of our songs in this sea of sound must be a little like floating around in the middle of the Atlantic Ocean, hoping to be discovered by a passing ship...lol
I read something very similar. Assuming that 99% of those are between crap to good on the scale.... That leaves 1% that are well written and top quality works of musical art. That is 1000 outstanding songs across all genres. That's still some pretty tough competition in the business.
But no one ever won the marathon by sitting on the bench.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
And in that ocean we are pleased on Spotify to now average 1000+ plays a month. That number is minuscule compared to many other “small time” artists but, hey, at least we know folks beyond family and friends like what we do. Our plays come primarily from placement on several popular Spotify “member playlists.” The winning lotto ticket is placement on one of Spotify’s Editorial Playlists. That will get you tens if not hundreds of thousands of streams. And to Billy’s point those upload numbers hugely reduce the chance of placement on an Editorial Playlist. Spotify must have an army of curators to handle that. There are 80,000,000 songs on Spotify. Our ocean
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
<...snip...> "Did you know that 10.08 million new tracks were uploaded to online music streaming services in the first three months of 2023? That’s 120,000 new tracks every day, according to estimates from Nashville-based Luminate, a company that tracks music industry data."<...>
That's the new problem with getting your original music heard.
It used to be you sent demos to the gatekeepers (record labels) and 99% got rejected there.
Now, nobody gets rejected, but there are zillions of others out there. How do you get yours noticed? Discovered? Found?
In the past, if you didn't get rejected by the label, the record company did the promotion (and took the price out of your royalties). So in today's world, you must do your own promotion, or hire someone to do it for you.
Doing your own promotion is definitely time-consuming, and takes away from the available hours you could spend creating and polishing new music. If you don't have a lot of money, hiring a promotion company is out of the question.
If you started early enough, before so many others were on the 'net, you could have built up a following. Great if you did!
Today, you can still build up that following, of course it's a slow way to go, but the problem is getting noticed by the people who might like your music in the first place.
I'm glad I chose to be a performer, rather than a creator. I'm still gigging 15-20 times a month, and have been for most of my adult life.
I'd like to be a creator too, but to tell the truth, I stink as a songwriter. All the lyrics I write seem too trite and hackneyed. I'm good and arranging, creating BiaB styles, making backing tracks, singing, and playing saxophone, wind synth, bass, drums, guitar, flute, and keyboard synths. It's a good way to make a living.
Good luck to those trying to break into it, and congratulations to Janice and Bud for making your mark.
I am not "shocked" by the difficulty of having your original music acquired by anyone. That has always been difficult. It is certainly possible, as in the case of Janice, Bud, and thousands of others. Music is everywhere, and none of it is for free.
There are people buying music every day of the week.
What is shocking are the total numbers. I guess with the world population approaching eight billion, that should not be surprising.
There are all sorts of strange questions to ask. How much electricity is consumed in producing the 80,000,000 songs Bud alluded to?...lol
How many of the 80,000,000 were produced by AI, BIAB, for hire studios, both pro and otherwise?
Other stuff I read
"As of 2022, there are approximately 82 million songs according to Spotify, 200 million songs according to Gracenote, and between 97 million to 230 million according to Google."
I guess in the scheme of things, 80 million is not so much. Even if it costs $10 each to produce, that is less than a billion dollars. Even if it is 100 billion. One hundred billion is not a material amount of money basses on the five trillion that gets spent every day worldwide.
The implications of eight billion people are mind-boggling. Three hundred sixty-nine million gallons of gasoline are used only in the United States every day! That is about 1.5 billion dollars spent per day!
We all know what the two most prominate topics/content on the World Wide Web are! Music is certainly number two on that list, so these numbers are no surprize.
I agree with Bob. Be a performer rather than a creator.
I still make a little money from my CD, and I was well established at the very beginning of the public Internet (having written websites for myself, a college and two libraries that were all the first in the region) but I could not see making any kind of living now as a composer. I have a friend who leads a big band just north of New York City. He has amazing, well-known players, and writes fabulous music for them. Without his day teaching/prof work, someone like that could not exist.
Even as a performer, it’s tough to sell new music. Would a jazz festival take a chance on me, or would they rather hire famous blues and rock bands from the 70s? When I could have made music for a living, I looked at colleagues and decided not to. Music for me, even at a pro level, is just fun now. I’d rather write music for students or a community big band or orchestra, than attend one of those so-called jazz festivals.
BIAB has been with me through half of my six decades performing. Definitely the better half.
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I also wonder about the characteristics of what makes songs popular or "hits" in this modern music environment.
I attribute a lot of it has to do with the arrangements and production aspects of songs. When I think of a song like "Billie Jean"... Was it made a super hit song simply because Michael Jackson recorded and showcased it? Probably so, but that song arrangement has been analyzed in several UTube videos, especially the focus on the bass line arrangement.
When you have skilled musicians, arrangers, producers working on a song, how much does that increase the odds of the song becoming a hit? Let's say 50% better odds. Then add a star performer to sing/play it? I'm thinking that combo would raise the odds to 80%+ of being a major hit.
So of those hundreds of thousands of songs uploaded to the Internet which may never get played or heard by more than a few souls, there may well be hundred of future hits in the making if the right team of arrangers, producers, and performers are given a mission to do so.
I envision some TV program that has such a team of experts taking a random song from the web (or selectively submitted) and given the task of enhancing that song and giving the song some mass market exposure. Would be fun to see if songs can be transformed into hits with the "right" pieces and parts working on it.
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I agree with Bob. Be a performer rather than a creator…
Glad that works for you indeed! Then there’s the old adage that all things are contextual. I played in bands for many years along with Janice for several years. We played large festivals, clubs, businesses, etc. But I hugely more enjoy music production (now and then) as, I suppose, it seems less transient. And Janice and I both were working full time in the mental health field during the bulk of our gigging years before retiring in ‘99. Three nights in a club or a weekend festival took its toll. Even after retirement we both enjoyed recording or playing in the living room more than gigs. I had recorded since the mid 60’s so the advent of digital home studios and BiaB introduced us to a thoroughly enjoyable world. Even if we are but a speck in that ocean of creators.
Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
For context, remember that every inner city kid with a laptop who knows how to make an 8 bar loop in a minor key and recite badly written, angry, racist, sexist poetry is a "creator" and a "producer". Those are all considered in that total of uploads. I'll never leave that "old school" camp of opinion that if you aren't on the mainstream radio in my car that you aren't a prime time player and I don't consider you to be viable. And by that definition, I am less than gum on the bottom of the shoes of the viable players.
I want to tour. On the big bus. I want to play. In bigger rooms. Like 2500-3000 seat rooms. I have had that opportunity 3 times in my life, but it wasn't "me". It was the bands I happened to be a side player in.
The last time was in 2020. And now that I have finally conceded that due to age and physical condition, that would be the last time it could happen. As bad as Herbstock beat me up, and that was just that one time, I now admit defeat.
To me, THIS is a gig. (The Akron Civic Theater.) Anything less than this is just pretending that I am good enough. I am not about to lower myself to playing garbage music in front of people who wouldn't know good if they sat in it. It took me years to admit that I washed out in music. My music will never be on Spotify, iTunes, or any of them. It's not good enough. I'M not good enough. And I'd rather not pretend.
I agree with Bob. Be a performer rather than a creator. (snip snip snip) I’d rather write music for students or a community big band or orchestra, than attend one of those so-called jazz festivals.
Did you mean YOU would rather be a performer? Because that second part of the quote is 180 opposed.
Your band, at least what I hear on your CD, should get calls to be at least band 2 of a 5 band card, if not 3. You are not rookies and you play a genre that will always be popular.
Hi Eddie. That might be caused by the snip. But to be clearer, I do perform now, but I enjoy writing more. I was always the headliner when I played, mostly because I played for educational purposes and got grant funding. The rest of the band grew old and grumpy after 32 years together.
Any concerts or recording that I do now is to enhance other people's performances. While they pay me nicely, I could not recommend anyone go into the music business now doing what I do.
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Anymore, I would personally rather write the next killer tune and live on what comes to my mailbox than schlep gear around. I will likely take my dream of hearing ONE of my songs performed by someone real to the grave with me. Like many (if not most) players my age I was dead set on being the band that made people forget The Beatles. I wrote and wrote and wrote REALLY bad songs just waiting to turn out ONE good one.
And I'm still waiting.
But I could take all of those really crappy songs and upload them somewhere and delude myself into thinking I am real.
Much like I could still think I am a handsome studly lady killer dude!!
I hear you, Eddie. Except maybe for the lady killer part.
My guitarist was on hold with Verizon one day. He heard a guitar soloing during the on-hold music. He thought, that cat is pretty good. Then he thought, that cat copped some of my licks! Then he realized, that's me!
It was my CD playing.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
I still like playing live in a situation where I know the players and the music we are playing. It is becoming more difficult by the month due to old age and health issues.
Going to a studio to record something with people you like is still a lot of fun.
I am certainly not going to move anything heavy. There are plenty of young guys to move all those heavy guitar amps around. Many of us have stopped playing through the likes of Fender Twins unless they were provided by a backline company or were in the studio.
I decided a very long time ago that I wanted to make money a lot more than I wanted to play music. I also knew I was not willing to put in the time and effort to be a competent musician. Making a good living gave me to resources to indulge in the music world.
I have sold a few musical creations I, along with some really good musicians, created. But, none of that was ever a material amount of money.
It is a good thing that some here have been able to make some money and get some recognition for their efforts. I like listening to Matt and to Bud and Janice. I hope they make a zillion dollars.
I can not imagine trying to live on what someone just out of a major music school is generally paid in today's world.
There was a time in the United States when the average person could survive on what they made playing in a club. That is almost impossible to do now.
A skilled musician playing in a symphony earns somewhere in the range of 30K to 80k. That is not a very well-paying job at a time when cheap new houses cost 300K.
To get back to the thread, my surprise is just with the volume of music being produced. The numbers are huge.
A skilled musician playing in a symphony earns somewhere in the range of 30K to 80k. That is not a very well-paying job at a time when cheap new houses cost 300K.
Even more, Billy. From the infrawebz...
How much do The Cleveland Orchestra employees earn on average?
The Cleveland Orchestra pays an average salary of $147,514 and salaries range from a low of $126,019 to a high of $170,231. Individual salaries will, of course, vary depending on the job, department, location, as well as the individual skills and education of each employee.
Not a bad way to make a Bach!
But they also have a waiting Liszt.
(One more? Okay!)
Wouldn't it be great to Ravel in that kind fame?
(Bonus round.) I'd get my Rachmanins-off every performance!
I am glad to hear that, Eddie. 150K should be the minimum wage. The skill needed to play in The Cleveland Orchestra requires a substantial amount of work and education. They deserve all they can get.
The good thing about living in Cleveland is a good bit lower median new house prices from realtor.com. 130K for a new house?
Many of us here on this forum are old enough that all these uploads don't affect us much.
I feel for the kids coming up who will have a substantially more difficult time pursuing making music for a living. These young people are doing what they can to beat to odds. They use stuff like TicTok to get exposure, and some get known on youtube.
These guys just work really hard at it. The year before the pandemic, a band of three young guys was doing well around Miami playing live gigs. All could sing very well, and all played drums, bass, keyboards, and guitar and switched off in the shows. I sat in with them from time to time. I never had any interest in the money, but they made six or seven hundred just in tips regularly, plus what they got paid. Yes, of course, they had day jobs, except for the drummer, who played in several bands. The drummer was a bit older and had played professionally all his life. He had all the contacts he needed to stay busy. Well...enough of this, Eddie, see you in the funny papers...lol
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