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In Reply to: RE: Another case for Streaming Services posted by PAR on January 21, 2020 at 03:15:15
OTOH, how much would I be willing to pay for QOBUZ hi rez per month.
Heck, I'm at $130 per month for Comcast and that's without HBO and the other crap they try to add every month. (OK, 250 Mbps ain't cheap where I live).
And I doubt I wake up and they are all gone. Consolidation? More likely and maybe Jeff Bezos ends up buying it all at fire-sale prices.
Or, maybe I'm back to cleaning records.
Follow Ups:
" More likely and maybe Jeff Bezos ends up buying it all at fire-sale prices."
Klaus Heymann (Naxos) who had run his own hi-res streaming operation but had to close down for economic reasons, predicted a few years back that the only way to run a streaming service given its costs was to own a business that could simply afford to bundle it as part of the overall offer and absorb the losses.
From the record company point of view streaming royalties for specialist repertoire are too small for them to recoup even a fraction of the cost of making the record in the first place as they are aggregating royalties from only hundreds or thousands of streams at best unlike the billions of streams for major pop acts. So the move by consumers from purchase to streaming is ultimately bad news for those specialist labels if things remain as they are now.
The danger for, say, classical music fans is not that Amazon may end up being the only streaming service but that it will contain no new classical music releases, only back catalogue (which is almost all that the majors now release for this genre given that only the majors may be left, funded by pop music).
"We need less, but better" - Dieter Rams
(In both senses of the words) music is a staple of North American bands and their exploiting, peddlar, colluding, corporations.
For most of the USA, ISPs are also making streaming untenable.
And, of course, - the artists don't get paid.
Apple and AMazon could close Tidal within the year. Europe might help out QoBuz, - but the market penetration of QoBuz in the uSA is about as close to zero as one can get.
High resolution, and high quality recordings, (as you said), aren't affordable, and the USA consumer doesn't want to pay for them, nor will they be able to tell if it's high quality or not.
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
Sorry but your rant is confusing me. What am I whitewashing? Why is it crappy? Homogenous means having a common property throughout or composed of parts of the same kind but I do not understand your use of the word in this context." (In both senses of the words) music is a staple of North American bands"
Which words? Music, staple? It is of course axiomatic that music is a staple of a band.
" And, of course, - the artists don't get paid. "
All of them? If so how can some complain about how much they get paid if they are not being paid? viz. Peter Frampton.
" High resolution, and high quality recordings, (as you said), aren't affordable," Where did I say that?
" For most of the USA, ISPs are also making streaming untenable."
Why is that? Is it something specific to the USA?
"We need less, but better" - Dieter Rams
Edits: 01/23/20
Not a rant....
""All of them? If so how can some complain about how much they get paid if they are not being paid? viz. Peter Frampton.""
Yes, - not being paid ENOUGH for their work. And, - being paid far less than the old model (which wasn't very good either, - but better than now).
"Why is that? Is it something specific to the USA?"
Yes,- due to monopolies, greed, oppression, Broadband Internet Access simply is either not available, or is so expensive that it's in effect, - not available.
""" High resolution, and high quality recordings, (as you said), aren't affordable," Where did I say that?""
Sorry, - I meant to say, - as you seemed to imply. In that labels aren't spending the money to produce and invest in high quality recordings because the market and (especially) US consumers don't want to pay for high quality recordings.
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
Heyman's decision in terms of technology and market acceptance (preference?) for streaming. Of course, how it works is determined by the non-Classical market.
Thanks Kal. But Heymann's difficulty was not with technology or acceptance but the ratio of costs v. turnover of which many costs ( e.g. royalties) are scalable against turnover. So, the game remains the same and, as you imply, with rules for minority genres set by those of majority interest. This, so far, results in a financial skew hugely in favour of pop music. Of course a utilitarian could argue that the skew is justifiable and if minority genres of music cannot survive then so be it. It is all to the benefit of the majority.
Having been professionally involved in setting royalty rates for the use of sound recordings for a large part of my working life all I can say is it will all turn out to be a honey pot for the lawyers :-).
"We need less, but better" - Dieter Rams
""It is all to the benefit of the majority.""
That was the argument: but is that really a benefit...
"Having been professionally involved in setting royalty rates for the use of sound recordings for a large part of my working life all I can say is it will all turn out to be a honey pot for the lawyers :-). ""
Having been professionally involved in songwriting and recording for a large part of my working life: I cannot disagree, - but would add exploitative corporations to the lawyers :-)
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
Reminds be of a story Peter Q. of Audio Note UK likes to tell as to why he got into digital and made his first commercial DAC.
He's and avid record collector but there were few new classical releases on vinyl so he had to have a CD system he could stand to listen to. (His story, not mine).
So I guess my plan would be to stream everything recorded prior to 2020 and then buy CDs (or downloads) for everything else?
I can live with that. Maybe start downloading some Ultra Hi Rez stuff now? Say DXD, etc.?
Maybe should.
That said, I find the idea of having to stream music from Amazon as having little appeal.
There have been no NEW classical recordings in decades and I reached the same conclusion as did Peter Q. almost immediately. I have since devoted my efforts to ripping and downloading.
.
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
I believe I saw an article about a year ago, which claimed that "best selling" classical releases (a heavily promoted Hilary Hahn release was mentioned) only needed to sell about 500 copies per month in order to attain a "No. 1" rating within the classical segment of recordings - at least during some months. The claim was that the market for "specialist" music is just not that big, no matter what the format (disc, streaming, etc.). I know, this could be one of those "I read it on the internets, so it must be true" kind of articles - but it didn't necessarily strain my credulousness.
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