FEATURE: How Is The Big Tour Planned And Implemented?

 When I listen to one or two accounts from acquaintances, some of whom can't go beyond the event organizer's partial reimbursement of the travel costs to the club, I'm sure that an article about planning a big tour must sound like sheer mockery to them . The initial situation of even putting on a coherent tour to cover the costs is more catastrophic than ever for unknown bands and for years there has only been one direction, namely downwards. Nevertheless, despite all the economic pessimism in the live music scene, there are still "big tours", although these are primarily carried out by established or very well-known artists. However, even these are not about worldwide tours by international superstars, which are successful anyway but the area that goes beyond the "saved annual vacation minus family" or the "weekend with local gigs." Semi-professional musicians often cover this area because their artistic income alone is not enough to survive and they therefore have to secure themselves with a part-time job. However, your priority is 100% on the music and the opportunities it offers. In this area, three weeks or more in a row can arise, which can make many things appear in a different light. Let's Take a closer look at the economic, social and technical minefield so that as few mistakes as possible are made in advance

The definition of a tour has changed significantly over the last two decades. As is well known, a live performance used to be mainly used to promote the band or artist's new album and thus generate most of the profit. Nowadays it's the other way around. You bring a new album onto the market in order to have a reason to go on tour, since there is no profit or comparatively little profit to be made from the sale of classical recordings. The current charts have long since lost their significance, as just under 3,000 albums sold in one week are now enough for second place in the official Media Control Charts. A placement in the top 10 is therefore only an honor for musicians, while serious business people can only smile with pity at such sales. What you can “earn” in streaming below the multi-million mark is probably well known by now.

Planning a big tour

That's why playing live in combination with selling merchandise and VIP tickets for larger acts is the last chance to make a significant profit. The distribution of income has become established: the fee covers travel and transport costs, while the sale of merchandise represents the profit from the tour and depends on the number of visitors per show, from which the “sales per visitor” is determined. Anyone planning a strenuous tour, without breaks for more than a month, is faced with various uncertainties at the beginning of their career that can quickly capsize the boat called "tour".

To be clear, this article is not about successful booking or similar, this area has already been covered in this article (https://www.amazona.de/newcomerband-euer-erstes-booking-wie-wo -was/ ) treated in detail. Rather, it is intended to point out that many areas can be optimized in advance with relatively little effort, which can later cause problems during ongoing tour operations.

Of course, you can take everything into your own hands and take on all the other functions in addition to operating your own instrument, but in most cases this leads to a decrease in the quality of your own performance on stage. If you don't have the head free for your personal artistic achievement, you'll end up bypassing the visitor. If you have the means of transport, you should at least have a merchandiser and a tour leader/driver/backliner on board. The merchandiser can be motivated by a percentage share of the sales, but a separate agreement must be made with the tour leader.

In general, planning and carrying out a major tour requires a lot of commitment, organization and careful preparation. It is important to consider various tasks in advance to ensure that the tour runs smoothly and has the desired success. The first step in preparing for a tour is to define clear goals. Do you want to win new fans, promote a new album or expand your presence in certain regions? Based on these goals, tour dates and locations should be decided. It is important to take into account travel times, potential target groups, seasonal characteristics and existing fan bases in the individual cities or countries.

Regarding budgeting and financing, it is always advisable to create a detailed budget for the tour itself, including all expected costs such as travel, accommodation, food, transport, equipment, marketing and promotion. You should also plan beyond just the salary and include income from previous shows, support from record companies or sponsors or through crowdfunding campaigns in the planning.

Preparations for a big tour

Many points within the daily routine vary when living “on the road”, which is why you should pay particular attention to the following things on a “big tour”:

1.) Physical stress
A tour where you are on the road for longer than just Friday to Sunday or even longer and then only have four days at home is a mammoth physical task. It is not necessary to be as old as the author of this article to know that the body particularly suffers from lack of sleep and psychological imbalance. What is often presented to the outside world as a “2-hour show and just hanging out on the bus and playing video games” challenges the body much more than you would initially think. When you're in your early 20s, the whole thing might seem like a joke, since you can go a week without sleep and celebrate getting your rind cracked every day. But this week is also coming to an end and with it the fitness. With every day on tour you lose a percentage of your fitness, which ultimately ends in total exhaustion. It is therefore advisable to strengthen your body in advance through fitness, a healthy diet and a balanced daily routine in order to last longer.

I've already been on tour with many young support bands who didn't miss an opportunity to indulge in rock'n'roll in all its clichés until it was just amazing. You can do it, but forgetting instruments at the venue and the latent getting on your nerves because the headliner is full as a bucket around the clock isn't good in the long run and has a positive effect caused one or two expulsions from the tour.

2.) Psyche
The point of psychological stress needs to be taken into account even more than the point mentioned above, as you cannot prepare adequately here. Only those who are prepared to completely give up their privacy for the duration of the tour can really enjoy everyday tour life. If you work with hotel beds and have the luxury of single beds, you may be able to build a small refuge into which you can at least partially retreat. However, anyone who works with nightliners/tour buses is forced to subordinate their personal daily routine to the entire tour party. There is extreme crampedness, completely different ideas about the room temperature and always too little space for everything. Not to forget sleeping on a roaring diesel, which with a bit of luck will perhaps be replaced by an electric motor in the medium term, but is still the standard at the moment. This scenario wears down anyone who hasn't either known this procedure for years or has their psyche well under control.


3.) Equipment
To get to the point, the most important point of a big tour is packing the equipment in cases. Professional flight cases or high-quality hardshell cases are now affordable and offer reliable protection for the instruments. Unfortunately, there are still colleagues who check in their instrument in a simple cardboard box at the airline check-in counter and are then surprised when there is only rubble left at the destination. Every musician has a responsibility to provide working equipment every night, and that includes appropriate protection.

Another crucial point is the availability of spare parts and accessories. On a longer tour, all parts really have to be present twice. Not just the guitar and maybe a spare cable, but really everything. Power supplies, stompboxes, power cords, guitar straps, DI boxes, amplifiers, speakers, in-ear systems, transmitters, microphones and much more.

In addition, wearing parts such as strings, drumsticks, skins and gaffa tape are required. There are also unusual things like the cerumen filters in the in-ear systems. As soon as these filters become clogged, you can no longer hear any treble in the earphones, which makes monitoring pointless. Of course, every part should be checked beforehand to ensure it is working, but it is surprising how often colleagues show up at the venue with empty batteries. It is helpful to stock up on items such as batteries in a maxi pack before the tour begins so that everyone can help themselves and the costs can be covered by the tour proceeds. This means that our colleagues also have functioning equipment and are only responsible for the sound and functionality up to the output socket of their instrument.

Ultimately, however, everyone has to know what they can expect of themselves and their colleagues, but there is one thing you should always be clear about. If the fan only gets a substandard show due to some kind of personal misconduct, there is no excuse!

So have fun and good luck with your shows!

—————————

Additional Informations:

For musicians aspiring to showcase their talents on the global stage, understanding the complex web of international entry requirements is paramount. Traveling from one country to another involves negotiating a labyrinth of visa regulations, work permits, and cultural nuances. This article provides an in-depth exploration of the entry requirements for musicians worldwide, shedding light on the challenges, variations, and evolving trends in a landscape where artistic expression meets immigration protocols.

1. Visa Categories for Musicians

Musicians often fall under various visa categories depending on the nature and purpose of their visit. Common visa types include:

   a. **Tourist Visa:** Musicians performing in non-commercial, non-profit events or festivals may be eligible for a tourist visa. However, the limitations on remuneration and performance venues must be carefully considered.

   b. **Artist/Entertainer Visa:** Many countries offer specific artist or entertainer visas designed for performers. These visas often require detailed documentation of the performance, contracts, and the artist's credentials.

   c. **Business Visa:** In some cases, musicians traveling for business purposes, such as meetings with industry professionals, may utilize business visas. However, performing at public events may be restricted under this category.

   d. **Work Visa/Permit:** Musicians engaged in commercial performances, tours, or recording sessions often need a work visa or permit. These applications require extensive documentation, including proof of employment and adherence to local labor laws.

2. Documentation and Application Processes

Navigating the documentation and application processes for musician visas can be intricate. Key elements typically include:

   a. **Invitation Letters:** Musicians are often required to provide invitation letters from event organizers or sponsors, detailing the purpose, duration, and scope of their performances.

   b. **Contracts:** Comprehensive contracts outlining the terms of performances, remuneration, and other relevant details are crucial for visa applications. These documents often undergo scrutiny to ensure compliance with immigration regulations.

   c. **Proof of Artistic Credentials:** Musicians may need to provide evidence of their professional standing, including awards, accolades, and previous performances. This helps establish the artist's legitimacy and contributes to the approval process.

   d. **Travel Itineraries:** Clear and detailed itineraries, including performance venues, dates, and accommodation arrangements, are essential components of visa applications.

3. Regional Disparities and Challenges

The entry requirements for musicians vary significantly from region to region, reflecting the diverse cultural, economic, and political landscapes. Challenges include:

   a. **Stringent Security Measures:** In the post-9/11 world, many countries have implemented stringent security measures that can affect the visa application process for musicians. Background checks and security clearances may be required.

   b. **Economic Considerations:** Economic factors, such as the potential impact on local job markets, can influence visa approval. Some countries prioritize the employment of local artists and may impose restrictions on foreign performers.

   c. **Diversity of Regulations:** Navigating a patchwork of regulations can be daunting. Musicians touring multiple countries must adapt to varying visa requirements, processing times, and documentation standards.

4. Cultural Sensitivity and Awareness

Beyond legal requirements, musicians must also be attuned to cultural norms and sensitivities. Understanding local customs, traditions, and etiquette can contribute to successful performances and positive interactions with local communities.

   a. **Cultural Competence:** Musicians should invest time in researching and understanding the cultural contexts of the countries they plan to visit. This includes knowledge of appropriate attire, audience expectations, and respect for local customs.

   b. **Language Considerations:** Language barriers can pose challenges. Musicians may need to consider communication strategies, such as hiring interpreters or collaborating with local artists to enhance cross-cultural understanding.

5. Evolving Trends and Adaptations

The dynamics of international travel for musicians are continually evolving, influenced by geopolitical changes, global events, and technological advancements. Recent trends include:

   a. **Virtual Performances:** The rise of virtual performances, especially in response to the COVID-19 pandemic, has reshaped the landscape. Musicians now explore digital platforms for international exposure, albeit with unique considerations.

   b. **Collaborative Initiatives:** Collaborative initiatives between countries to streamline visa processes for artists have gained traction. These efforts aim to foster cultural exchange while addressing the challenges associated with traditional visa requirements.

   c. **Technological Solutions:** Some countries are exploring technological solutions, such as digital visa applications and online platforms for document submission, to simplify and expedite the process for musicians.

Conclusion

Navigating the worldwide entry requirements for musicians demands a combination of legal acumen, cultural awareness, and adaptability. As musicians aspire to share their art with diverse audiences, the intricacies of visa applications and the evolving global landscape necessitate strategic planning and collaboration between artists, industry stakeholders, and immigration authorities. By understanding and addressing these challenges, musicians can continue to traverse borders, bridging cultures through the universal language of music.

FEATURE: How Do You Keep Fans Interested?

 Despite all the admiration for the changes that companies like Tesla, systems like Bitcoin or trades like heat pumps in conjunction with AI have brought to humanity in recent years, probably no other system has changed as fundamentally as the media world. With the introduction of Web 2.0 and the imminent adaptation of Web 3.0, every interested user now has the opportunity to transport their content all over the world, which has both many advantages and many disadvantages. Due to the media bombardment that hits us every second, it is becoming increasingly difficult to generate new fans, but also to keep old fans who you have laboriously gathered together, as you are fighting a 24/7 battle against “competitive products “, who want to “steal” the fan’s attention. Not only are you dealing with the problem that countless other artists want to be noticed in the same way, but the fan is also distracted by things like social media, video games or just the constant flow of news, which leads to time away from it There is less and less available to you or your band in your professional life. With this feature we try to point out some basic points that can be used to specifically combat the loss of attention.

What is your added value for the fan?

We'll start with a very provocative question: why should a fan even bother with you and your art? Are you, your music, your songs, your lyrics, your appearance, your statements worth it that a music lover / fan spends their free time with your creative output and not with the songs of Ed Sheeran or Taylor Swift? Do you have something special about yourself that fans can use to “adorn” you in front of their friends in the sense of “have you heard blah blah blah, that’s a blast for such and such a reason!”

I know it's not a pleasant question, but in times when you have 24/7 access to millions of other artists, it's very hard indeed to retain a fan for a long period of time, unless yes Unless you were very lucky to have started your career 30 to 50 years ago and achieved the appropriate level of attention. In this case, it doesn't really matter what you do, because you have a positive image in the fans' memory pattern and you actually don't need to do anything at all other than play your old hits regularly and say every now and then that you still exist. There will definitely be thousands of old people coming to your concerts, no matter how good your performance is now. Sad but true.

Unfortunately, newly founded or yet to be founded bands cannot rest on these laurels, although in my opinion the band construct will become much less important in the medium term anyway. As is well known, the majority of mainstream audiences now unfortunately don't care at all whether the music they hear is produced live on stage or played from a MacBook. You shouldn't forget that a band in which different musicians play different instruments was founded because in the early days of popular music there was simply no other way to convey music live in all its shades than to have one for each instrument musician took. Nowadays, this is all taken over by technology if necessary and I'm pretty sure that in the future a single musician with three dancers on stage will provide significantly more entertainment value than a classic four-piece band, if not each musician is a real enrichment in their own right for the viewer.

How do I ensure that the fan continues to lend an ear?

How to acquire fans and draw attention to yourself has already been widely published on the Internet or in specialist magazines and you can read about it with greater or lesser success. This feature is intended to focus on what you can do once you have successfully acquired fans to keep the fans on board so that, as I said, you don't lose them again to Ed Sheeran and Taylor Swift or their many colleagues .

Assuming they have a regular job, everyone now only has a very short amount of time per day in which they can do the things they enjoy. If that includes music, it's up to you to give the fan something that will make them want to spend this extremely short time with you or at least bring their friends over to listen or watch your creative output with them. To do this, you have to keep two important points in mind.

Music is emotions captured in sounds. If you want to keep your fans, you have to be able to put them in a mood that either reflects their current emotional state or have them listen to your music to get into that emotional state. This can include anything from shallow ambient chatter to hard-hitting metal drones that the listener would like to hear at that moment or in the respective situation. If you can do this, you've already exhausted 50% of all the options you have left to keep fans engaged. At the same time, this also means that the fan appreciates a certain orientation with your music, which doesn't mean that you can never break out of your pattern, but you should always think about the type of fan you are addressing.

This can also apply to productions that seem completely exaggerated at first glance, such as Heino sings Rammstein or Paul Anka arranges typical rock songs in the classic big band style. What you shouldn't forget, however, is that the artists mentioned manage to interpret foreign songs with their own performance, especially with their own voice and their way of singing, as if they were their own songs, which then even to the Heino audience, at least makes a Heino Rammstein interpretation accessible to part of the audience, some of whom probably don't think the title is bad at all, without knowing what the original actually sounds like.

I assume that everyone reading this article knows that the media industry has completely changed and income is generated completely differently than it used to be. As a quick reminder, publishing songs in the form of streaming, CDs and even vinyl can now only generate marginal income, which only just exceeds the hobby level.

All recordings are actually only there to draw attention to you and give you a reason to perform live or on the Internet. That's why more and more institutions are of course jumping into the live music sector and holding their own, but that's a different topic that can be dealt with in another feature.

What you should ask yourself, however, is why is the live sector the last department where there is still money to be made? Why have the fans arranged themselves in such a way that the biggest cash cow of the past, the physical recording medium, has become irrelevant and the live shows ultimately dominate everything that is desirable in any way? Well, the main reason is that humans are social creatures and celebrating an artist together with like-minded people, singing the same lyrics, moving to the same beats is still the central point of what it's all about for many people when it comes to music and emotions. So your job is to regularly provide the fan with content that keeps you in their attention and what attracts them to your shows.

The three points of fan loyalty

The following points are important:

1.) Publish your own music regularly
2.) Be authentic
3.) Be approachable within a moderate range


to 1.)

Think carefully about whether you want to stick to the classic publishing principle of an album. Large record companies are still very happy to stick to this system because their promotion and marketing departments can handle this type of publication very well, as you can easily sample large-scale trade press, internet media, etc. in one fell swoop and with several small ones Promotions try to keep the band in the media until the next album is released. However, if you have a peer-to-peer network where you are in more or less direct contact with fans, you might want to consider going there and, for example, releasing a new song every two months distribute the streaming platform accordingly. Of course, this also has to be advertised again and again, but a newsletter is still a very good thing, although you of course have to be careful not to make a mistake in terms of data protection, or else you have a very good online presence and can use it usual social media to inform fans about it.


to 2.)

Old hat in all professions that deal with business, leadership or personnel management in general, but still a real challenge for artists. All too often you are told that you have to wear this or that, say this or that, do this or that and so on. Exactly the opposite is the case. Once you have become a personality, with all its advantages and disadvantages, you can discreetly work on the disadvantages and push the advantages further forward. But the most important thing is that you are a guy, you are a personality that people would like to look at, that they would like to listen to and that they would like to spend their time with. That's the only thing that matters in the end. Be unique and be good at what you do and you will find your fans, provided you fit into their life structure.


to 3.)

This is by far the most difficult area, as it depends very much on the musician's attitude towards the public. Every fan finds it great to get as close as possible to their artist, even if it's just in a friendly conversation at a live show or in a chat on an online basis. However, the closer you come into contact with your fans and the more personal things you share, the more you lose shine. However, if you take too much time out of communication, you run the risk of appearing arrogant and unapproachable, which can also have the opposite effect, unless it is part of your image.

For my part, I can only recommend that almost every person should be shown a certain degree of basic politeness and basic interest in themselves, especially when you consider that it only takes around 1,000 Die Hard fans to reach a modest level To be able to live music. If you manage to get around 1,000 people so enthusiastic about you and your music that they buy everything you have available to purchase, the income will be enough to cover a simple living, assuming that , you maintain direct contact with the fan and are not forced to give up any stakes in things like label, management or anything else.


Finally, I can only recommend that you choose your target group that you believe will appreciate your creative output and convince them to listen to you. It makes no sense at all to mention a little bit about yourself everywhere like the watering can principle; you'll actually achieve the opposite of what you actually want. Anyone who likes Ballermann Bums doesn't really care about any kind of music, it's all about the party and the atmosphere. At parties like this you could also have a drum machine with a cheap sequencer bass running and someone singing “you are so wonderfully beautiful, you are so wonderfully beautiful” with autotune over it, it would have the same effect. If you make your mood and your self-esteem dependent on such an audience, you have already lost.

If there's one of the few benefits of media overload, it's the fact that you can reach pretty much anyone in the world and there will always be people who are into exactly what you're offering. It's a lot of work and it's torture and it takes years and it will often get you to the point where you say, "I don't feel like it anymore," but if you can get through it, then you have a chance establish.

And like I said, 1,000 Die Hard fans to survive, 2,000 and it gets better and now imagine you have 10,000 fans.

I wish you much success for your future.

————————

Additional Informations:

In an era characterized by information overload, constant connectivity, and an abundance of entertainment options, the attention span of music listeners has become a precious and elusive commodity. The contemporary music landscape faces the challenge of capturing and retaining the focus of an audience inundated with a myriad of stimuli. This article delves into the factors contributing to the diminishing attention of music listeners and explores how the industry can adapt to this evolving landscape.

1. Streaming Services and the Paradox of Choice

The advent of digital streaming platforms has revolutionized the way people access and consume music. While these services offer unparalleled convenience and a vast library of songs at users' fingertips, they also introduce the paradox of choice. With millions of tracks available, listeners often find themselves overwhelmed by the sheer volume of options, leading to shorter listening sessions and a tendency to skip through songs in search of instant gratification.

2. Short-form Content and the Rise of Singles

The rise of short-form content across various media platforms, including social media and video-sharing apps, has influenced music consumption patterns. In an age dominated by bite-sized content, there is a growing inclination towards singles and individual tracks rather than full-length albums. This shift not only impacts the revenue models for artists and the industry but also contributes to a fragmented listening experience where listeners may not engage with an artist's complete body of work.

3. Attention Economy and Multitasking

The attention economy, driven by social media, notifications, and the constant demand for engagement, poses a formidable challenge to music consumption. Listeners are increasingly engaging in multitasking behaviors, such as scrolling through social media feeds or working while listening to music. This divided attention diminishes the immersive experience that music traditionally offers and may lead to a reduced appreciation for the nuances of the art form.

4. Algorithmic Playlisting and Predictability

While algorithmic playlists on streaming platforms aim to enhance user experience by offering personalized recommendations, they inadvertently contribute to a sense of predictability. As algorithms analyze user preferences and patterns, there is a risk of creating echo chambers, where listeners are exposed to a limited range of genres and artists that align with their existing tastes. This narrowing of musical exploration can lead to monotony and a lack of excitement, contributing to shorter attention spans.

5. The Rise of TikTok and Viral Trends

Social media platforms, particularly TikTok, have become influential in shaping music trends and determining what captures the attention of the masses. While this can provide exposure to emerging artists, it also contributes to a culture of fleeting popularity, where songs gain rapid attention and then quickly fade into obscurity. This rapid turnover of viral content may contribute to listeners' reluctance to invest time in exploring a diverse range of artists and genres.

6. Strategies for Navigating the Attention Crisis

Addressing the diminishing attention of music listeners requires a multi-faceted approach that combines technological innovation, artist engagement, and industry adaptability. Some strategies include:

   a. **Curated Experiences:** Platforms and artists can curate immersive experiences that go beyond individual tracks, offering thematic playlists, visual components, and storytelling to captivate listeners.

   b. **Interactive Content:** Integrating interactive elements into music releases, such as virtual reality experiences or interactive music videos, can enhance engagement and encourage a more active participation from the audience.

   c. **Diverse Collaborations:** Encouraging collaborations between artists from different genres and industries can introduce listeners to new and unexpected musical experiences, breaking the monotony of algorithm-driven playlists.

   d. **Educational Initiatives:** Promoting music education and storytelling around artists and genres can foster a deeper connection between listeners and the music they consume, encouraging a more thoughtful and engaged audience.

Conclusion

As the music industry grapples with the challenge of diminishing attention spans, there is a need for continuous innovation and adaptation. By understanding the factors contributing to this trend and implementing strategic initiatives, stakeholders can create an environment where music is not just consumed but cherished. Navigating the attention crisis requires a collaborative effort from artists, platforms, and industry professionals to ensure that the art form continues to resonate and evolve in the ever-changing landscape of the digital age.

FEATURE: The Value Of Music Today

 Is it all just a hobby? The definition of a hobby is actually quite simple. You take an activity that is made up of time spent and money invested. If the financial profit is higher than the investment, one speaks of a professional or commercial orientation, at least in the tax sense. If the personal investment is higher than the profit achieved, one has a hobby or one is pursuing a hobby. Is this broken down definition really that simple and, above all, what value does music have today?

The magic of the past or the transfigured look back

The constant “there used to be more tinsel” sayings, although they now seem very tiring, unfortunately sometimes have something very true about them. A colleague of mine was recently asked by his son why music from the sixties is still present today and is often played in advertising, at events or even on the radio. His answer was "In the sixties, music was created to generate emotions, today's music is created to generate clicks." In return, one might ask, if music creators 6 decades ago had had the same technical possibilities as they do today, they wouldn't have produced the same irrelevant crap that largely floods streaming platforms today? They certainly would have! Or to put it another way, has the limitation of artists by technology meant that they were forced to engage with their creative craft in order to reach the fan?

In addition to its mostly technically predetermined sound, each musical era has its own unique style of musical performance, both in terms of orchestration, arrangement and musical implementation. At the very beginning of recording technology, there was a band playing live in which one or perhaps two microphones tried to capture the live sound to some extent and record it directly onto the record. Gambled it up, forgot the text, grabbed the potatoes? New recording or leave the mistake on it. The musicians had to be correspondingly fit on their instrument. Different volumes? Move the respective instrument forward or backward in the room, done! The aim was to build a mood using the simplest means, because “we had nothing”.

With multi-track technology, you could not only record the instruments individually, but also create more through overdubs than what the band would have been able to achieve in its natural structure. They finally arrived in the “artificial” area using the drop in/out method, which was celebrated as the holy grail by singers and soloists in particular, as they managed to combine individual passages for the first time in order to get the most out of the artist's technical skills to bring out the artist in the studio, even if some of it can no longer be implemented live. The beginning of the end. Why? A few weeks ago I happened to see a live concert by Supertramp from the seventies on TV. Except for the fact that there was a little more room reverberation on the microphones and the saxophonist's intonation was off a few times, the concert was a 1:1 representation of the respective recordings. Not only did the instrumental passages sound identical, but the vocals were also indistinguishable. It's hard to believe these days when, at least in the rock sector, people are more than grateful if the singer even partially manages to reproduce the studio recordings.

Yes, and then HD Recording came along and with it, every producer's wettest dreams became reality. Everything, absolutely everything, that had been dreamed of for decades suddenly became a reality, which led to gigantic productions, especially in the eighties, that no longer had anything to do with a “classic” band constellation. If anything, you were slowed down by the computing power of the Macs / Ataris and the storage capacity of the respective peripherals, I only say AKAI Sampler 16 MB (MB, not GB!). This limit has finally been torn down in recent years, as current DAWs no longer have any limits when it comes to tracks, plugins and automation, and all for a price for which four decades ago you could only get two official preamps in 19 inch format has.

Anyone who has read this far is probably wondering why the entire list, everything is known, everything has already been heard. Well, it's supposed to show you why the situation is the way it is.

The value itself...

In order to determine the value of any action or item, we briefly go into “the world of evil”, i.e. we take a quick look at the financial industry with all of its stocks, bonds, derivatives, P2P loans and cryptocurrencies. Determining a value is very easy, anything that requires great effort to produce or is only available in small quantities is valuable, regardless of whether it is vintage cars, whiskey, art objects or Bitcoins. Anything that can be produced quickly, without great effort and in any quantity is comparatively worthless. Or to put it another way, Bitcoin, at 21 million. limited, cannot be multiplied any further and is produced with a lot of energy to ensure absolute protection against counterfeiting, and in the long term increases in value. FIAT money such as B. the US dollar is increased almost indefinitely, especially in times of crisis (every third dollar currently in circulation was printed in the last three years), fuels inflation and constantly loses value.

Applied to the music industry, this means that anything that can be easily produced in the home studio no longer has any value. The best example is orchestral recordings. Just a few years ago, recording a large symphony orchestra required huge logistical, technical, spatial and financial effort. Today you can throw in a high-quality library and, assuming you have the technical arranging skills, you can produce Hans Zimmer compositions on an assembly line in your bedroom. Result: no one listens anymore to an orchestral part in a film, a video game or a composition, while you bought the CD for the Star Wars soundtrack so you can listen to John Williams' excellent work at home.


The monetary aspect...

What is sometimes a great enrichment for the hobby musician turns out to be a death knell for the professional musician in many cases. Since almost every hobby musician wants to publish their creativity and in times of Spotify and colleagues this is also possible for everyone at a very reasonable price, the music world is flooded with thousands of publications every hour, some of which are never noticed outside of one's personal circle of friends.

Nowadays, for example, even with GarageBand, it is easily possible to stick together pre-made loops with appropriate instrumentation without even having any idea what you are doing, let alone mastering an instrument. Today, when I ask guitarists on Facebook what they do musically, in 90% of all cases I get the answer “I'm currently learning to set up my home studio and working on my first CD”. Mastering an instrument has quietly moved away from being the top priority in personal, musical life planning and is now just a means to an end for “recording music”. To found a band? It's too tiring for what! Keep the band alive? It's not worth it!

In plain English, newcomers no longer have a chance to assert themselves in the flood of publications and professionals are no longer needed because technology has almost completely replaced them. I don't even want to start with the Corona catastrophe. Where there are losers, there are always winners, so who benefits from the current development? You might hardly think it's possible, but it's the established manufacturers and the big music department stores.

Since Corona at the latest, sales of instruments in the lower and lowest price categories have multiplied. The hype already ends in the middle price range, as many musicians do not understand the meaning behind a higher quality, but also better sounding instrument, especially since the sound of the recording sounds identical to a guitar that costs €300 or €3,000, so why more spend as necessary?


A look into the crystal ball...

How is the future going to look like. I won't be so presumptuous, here's a final statement on this matter. to meet, but with just over 40 years of experience as a prof. As a musician, I can at least take development as a given. Music is being “consumed” more than ever before, without the “consumer” having even the slightest interest in the artist, the song title or a story behind the song. In principle, every song has already been written and will ultimately only be reproduced in a slightly modified form as a new title.

This development will continue, and in my opinion AI (Artificial Intelligence) will increasingly find its way into the “pro” business and then also into the consumer sector. As a producer, you will enter your desired style, choose an artist as a model and the AI will then compose the track for you, mix it and possibly also have an API for your digital distributor, which will immediately post the track on Spotify etc., i.e. H. even more titles at even shorter intervals without any artists. If you ever need them for the cover or playback shows etc., you choose the appropriate models from the catalog and book them by the hour. By the way, this is not cynicism, I'm sure it will go in that direction. You can get the first results e.g. E.g. listen here:


There will still be bands who have a good time with a beer in the hobby cellar after work and maybe also play one or two shows a year in the local pub (as long as this Corona has survived...), but there will be a lively scene of musicians who Meeting people with their instruments to play in front of people without backing tracks and make money in the process will no longer exist.

————————-

Additional Informations:

Artificial Intelligence (AI) has emerged as a revolutionary force in various industries, and the realm of music is no exception. The integration of AI technologies in the music industry has not only transformed the way music is created, produced, and consumed but has also opened up new avenues for creativity and innovation. This article explores the multifaceted impact of AI in the music sector, covering areas such as composition, production, recommendation systems, and the evolving landscape of music distribution.

1. AI in Music Composition

One of the most significant contributions of AI to the music industry lies in its ability to compose original pieces. AI algorithms, particularly generative models, have gained prominence in creating compositions that range from classical to contemporary genres. Projects like Google's Magenta and OpenAI's MuseNet showcase the capability of AI to analyze patterns in existing musical compositions and generate new, unique pieces.

AI systems can analyze vast datasets of musical scores, styles, and genres to understand the nuances of various musical elements. These systems then employ machine learning techniques, including deep neural networks, to compose music that aligns with specific parameters or artistic preferences. The result is a fusion of human creativity and machine precision, providing musicians with new sources of inspiration and collaboration.

2. AI in Music Production

In addition to composition, AI has significantly impacted the production process of music. Automation tools, powered by AI, assist in tasks such as mixing, mastering, and sound engineering. For instance, AI algorithms can analyze audio tracks and automatically adjust levels, equalization, and other parameters to achieve a polished and professional sound.

AI-driven plugins and software also enable musicians and producers to experiment with new sounds and effects, pushing the boundaries of traditional music production. By automating repetitive tasks, AI allows artists to focus more on the creative aspects of their work, potentially leading to the development of novel and groundbreaking musical styles.

3. Personalized Music Recommendations

Music recommendation systems have become integral to the way people discover and consume music. AI plays a crucial role in these systems by analyzing user behavior, preferences, and historical data to generate personalized recommendations. Platforms like Spotify, Apple Music, and Pandora utilize advanced machine learning algorithms to curate playlists and suggest songs tailored to individual tastes.

These recommendation systems not only enhance user experience but also contribute to the exposure of lesser-known artists. By leveraging AI, music streaming services can identify niche genres or emerging trends, ensuring a diverse and dynamic musical landscape.

4. AI and Creativity

The intersection of AI and creativity in music has sparked debates about the nature of artistic expression. Critics argue that relying on algorithms may dilute the authenticity of human creativity, while proponents believe that AI can act as a collaborator, offering fresh perspectives and expanding the creative palette.

AI's ability to analyze vast datasets and identify patterns allows musicians to experiment with unconventional combinations of sounds, genres, and styles. The collaborative potential of AI encourages artists to explore uncharted territories, fostering a symbiotic relationship between human intuition and machine-generated insights.

5. Challenges and Ethical Considerations

While AI presents immense opportunities for the music industry, it also brings forth challenges and ethical considerations. Issues related to copyright, intellectual property, and the potential displacement of human artists raise concerns about the long-term implications of AI in music.

The question of attribution becomes particularly pertinent when AI systems generate music autonomously. Determining the ownership of AI-generated compositions raises legal and ethical dilemmas, as current copyright laws are often ill-equipped to address such scenarios. Striking a balance between promoting innovation and protecting artists' rights remains a complex challenge.

Moreover, the use of AI in music creation also raises questions about job displacement within the industry. As AI tools become more sophisticated, there is the possibility that certain roles traditionally performed by humans, such as session musicians or arrangers, could be automated, impacting employment opportunities in the sector.

Conclusion

Artificial Intelligence has ushered in a new era for the music industry, reshaping the creative process, production techniques, and the way audiences discover and consume music. As AI continues to evolve, it is essential for stakeholders in the music industry, including artists, producers, and policymakers, to navigate the challenges and ethical considerations associated with this transformative technology.

Ultimately, the integration of AI in music represents an opportunity for synergistic collaboration, where human ingenuity and machine intelligence coalesce to push the boundaries of musical expression. The ongoing dialogue between technology and creativity will undoubtedly shape the future of the music industry, offering a dynamic landscape that embraces innovation while preserving the essence of artistic authenticity.

FEATURE: What's the legendary Plexi Sound?

It is considered the greatest legend that the electric guitar sound has ever produced, the legendary “Plexi” sound. Every musician who has had the pleasure of working with analog amps and all preset friends in the simulation / profiling department will have heard or read the name before. Every expert, on the other hand, will frown because THE Plexi sound does not exist at all and it is in no way fixed like a twin reverb or rectifier, for example. This feature is intended to dispel a few myths and misunderstandings that have accumulated over the last six decades and are repeatedly misrepresented. So why did guitarists like Jimmy Hendrix, Jeff Beck and Jimmy Page identify with this car?

What is a Plexi?

We jump back in time to the early sixties in Great Britain. Rock music of all kinds exploded in the UK during this time and posed a major problem for local musicians. The crowds at the concerts were getting bigger and bigger, as were the halls, but there was almost no equipment that could fill the halls with sound. The British musicians had a selection of small combo amplifiers, which went up to a maximum of 15 - 20 watts and these also lasted a short time at full load before going into the eternal hunting grounds. Companies like VOX or Selmer were just getting started and were not yet able to even begin to meet demand.

The only manufacturer in the world that had stable amps at the time that could generate up to 100 watts of power was located on the other side of the pond and was called Fender. However, at the time there were no import companies that would ship the desperately sought-after amplifiers to Europe, and the different mains voltages between the USA and the UK put a damper on private imports.

Jim Marshall, who opened a music store in London as a trained drummer and electrician, managed to obtain a small stock of amplifiers for the first time, but the demand still could not be met. So it came about that Jim Marshall hired a few engineers who then copied the 59' Fender Bassman 1:1 with a few modifications and brought it onto the market under the name JTM 45. The amp practically became the standard in all British clubs overnight and brought Marshall a huge boost in popularity.

A short time later, Pete Townshend from THE WHO asked Jim Marshall for a louder amp because the JTM 45's 45 watts weren't enough for him. Please imagine for a moment what volume levels prevailed on stage back then when 45 watt solid tubes were considered too quiet. The reason is quickly explained. P.A. Systems such as those offered today simply did not exist back then. People were happy when their vocals were amplified via a “vocal system” using crazy constructions. With a lot of luck they also found 2 channels for the kick and an overhead microphone, but that was it. Monitor boxes? What is that? Guitar and bass? Straight from the stage into the hall. It is not for nothing that almost all musicians of this time were and are partially or completely deaf.

After Jim Marshall doubled the JTM 45's output to 100 watts at Townshend's insistence, the next model, the original Plexi, came onto the market in 1967 in the form of the Marshall Superlead 100. It still had the reserves to sound clean even at high volumes. “Sound clean? Marshall and Clean, what’s that supposed to mean?” the first readers will ask themselves. Well, as already mentioned, during this time it was primarily about being able to fill large halls with sound without the sound collapsing. High gain as it is used today was unthinkable even in the wildest dreams and since artists like Jimi Hendrix almost predominantly preferred a clean, possibly slightly crunchy sound, the Plexi was characterized by precisely this feature. It's funny when you consider that the clean sound probably comes last when it comes to classic Marshall sounds.

Where does the term “Plexi” come from?

As I said, the name Plexi is a creation of a word that was coined by customers at the time. It is simply a description of the fact that the control panel of the amplifier is backed by a plexiglass pane for optical reasons, nothing else. In principle it wouldn't be a problem if it weren't for the fact that there were tons of Marshall amplifiers with different sound requirements, all of which had a control panel lined with Plexiglas. There were organ amplifiers, bass amplifiers, guitar amplifiers, and even Plexi vocal systems in Marshall's range.

Over the decades it has been agreed that a non-Master Marshall with 50 or 100 watts is called a “Plexi”, even if from 1969 onwards it no longer had a Plexiglas pane in its equipment. Seen this way, these include the 1959, 1987, 1992 models, some Bluesbreaker combos and of course the reissue models, which Marshall releases at regular intervals.

What is the “Plexi” sound?

To say it right from the start, the “Plexi” sound in all its shades is a far cry from what we call “lead” or even “high gain”. However, it is not the “super clean” that modern multi-channel devices offer. Strictly speaking, it's the different levels of crunch that Marshall offers with these models, depending on the guitar and the pickups installed. I'm consciously talking about playing the amp WITHOUT additional pedals, as these of course greatly expand the sound of the amp, but also completely change its sound. However, it should also be mentioned that all Plexis harmonize perfectly with boosters, overdrive and distortion pedals of all kinds due to their spartan construction. However, going into this further would go beyond the scope of this special. You can find some sound examples under this link.

Even if a typical Plexi is seen as a single-channel device, the amp must, strictly speaking, be seen as a two-channel device, which offers two different inputs with different sound approaches per channel, hence the four inputs. (Footswitch in 1967? What is that?) While input 1 of the respective channel was the much hotter input, input 2 still offers a comparatively clean sound even at very high volumes. Mind you, the volume at 12 o'clock, for example, is infernal and can really be maximized at large open air concerts.

The two channels of the amp differ massively in terms of their sound characteristics. Channel i of the amp is the classic lead channel and has more treble and presence, while channel 2 has significantly less treble and a higher bass content. What came up relatively early and was due to the circuitry of the time is the fact that you can connect both channels using a short patch cable and then mix them using the two volume controls. Channel 2 in particular benefits from this, as in my opinion it doesn't work at all in its solo function, as it is far too musty and expressionless.

A special feature of the classic Plexi sound is the fact that it has a lot of highs, but they don't “hurt”. Many modern amps make you squint as soon as you tamper with the treble or presence controls, but this is not the case with Marshall. The tone control of the amp is deliberately designed to be comparatively ineffective. When asked about the tone control, Jim Marshall's statement is legendary: “This is on purpose so that you can't set a bad sound,” knowing that God knows that his customers in “Swinging London” had other interests in mind than the perfect setting of a guitar amp.

I have recorded three amps that can be included in the “Plexi” range, a 1959 model, which was tuned almost 30 years ago (albeit very well, but unfortunately) by Manfred Reckmeyer, an untreated 1992 model, which is the bass amp Execution, but in principle it is almost identical to the 1959 and a new Soundcity Master One Hundred, which is very close to the Plexi in terms of approach, but still represents an independent sound culture. All amps were recorded without any pedals; the guitar was a Fender Strat Anniversary from 1979, which was equipped with an EMG set.

For the tuned 1959 I only used the “untuned” setting, but you can already tell that changes have been made to the innards of the amp. The sound is more stable than vintage amplifiers, but it lacks the freshness of the original.

In terms of sound, the 1992 actually offers an identical copy of the 1959 Superlead with a slightly more stable bass range, which is why it was almost completely turned out.

The SoundCity comes very close to a classic Marshall, but offers a significantly greater range of sound than the typical non-Master Marshalls. For me it is an outstanding alternative, which, in contrast to some Marshall products, is currently available and which has the same history as Marshall.

To get to the point, operating a Plexi on stage in its sweet spot without appropriate measures borders on bodily harm, even though the sound is unparalleled. Nothing, really nothing, can compare with this power and this stage presence, especially not simulations or profiles that are adorned with the trademark. But if you use, for example, a high-end load resistor like the Fryette Power Station, you can even manage to keep the legendary sound at practical volume levels and still not have to accept any loss of sound. An amp for eternity!

One last thing, the famous “English setting”, i.e. all controls at 10, is complete nonsense, the amp sounds much too pressed and undynamic in this setting. If at all, you can only operate the amp in this setting with a guitar that has extremely low output, so maybe a vintage Strat with half of the magnet molecules already tipped over or maybe an old Danelectro.

————————-

Additional Informations:

Jim Marshall, born James Charles Marshall on July 29, 1923, was a British entrepreneur and musician who left an indelible mark on the world of music through his revolutionary contributions to amplifier technology. Widely known as the "Father of Loud," Marshall's name is synonymous with the iconic Marshall amplifiers that have played a pivotal role in shaping the sound of rock and roll. This article explores the life, career, and lasting legacy of Jim Marshall, a visionary whose innovations continue to resonate across the global music landscape.

Early Life:

Born in London, Jim Marshall grew up during a time when the music scene was undergoing a radical transformation. In his youth, he developed a passion for jazz and the drums, ultimately leading him to pursue a career in music. Marshall's early experiences as a drummer laid the foundation for his later success in the music industry, as he gained firsthand knowledge of the needs and challenges faced by musicians.

Entrepreneurial Beginnings:

Jim Marshall's journey as an entrepreneur began in the early 1960s when he opened a small music shop in London. Initially selling instruments and offering drum lessons, Marshall's shop soon became a hub for local musicians. Recognizing the demand for reliable amplifiers that could produce the volume required for live performances, Marshall decided to venture into amplifier manufacturing.

The Birth of Marshall Amplification:

In 1962, Marshall introduced the JTM45 amplifier, a product that would mark the birth of Marshall Amplification. This amplifier, inspired by the American Fender Bassman, quickly gained popularity for its powerful sound and durability. Marshall's keen understanding of musicians' needs allowed him to refine and improve his amplifiers continuously.

The Marshall Stack:

One of Marshall's most significant contributions to the world of music was the development of the Marshall stack. In the mid-1960s, he introduced the concept of stacking multiple speaker cabinets on top of each other, creating a towering wall of sound. This innovation not only provided the volume that rock musicians craved but also became an iconic visual symbol of the rock and roll lifestyle.

Endorsements and Influential Users:

As Marshall Amplification gained acclaim, it attracted endorsements from some of the most influential guitarists in the world. Legends like Jimi Hendrix, Eric Clapton, and Jimmy Page embraced the Marshall sound, solidifying its status as the go-to choice for rock musicians. The association with these iconic artists propelled Marshall Amplifiers to international prominence.

The Marshall Logo:

The distinctive "Marshall" logo, featuring a stylized script, became an iconic symbol of quality and reliability. Marshall's commitment to producing amplifiers that could withstand the rigors of touring and deliver a consistent, powerful sound earned the brand the trust of musicians worldwide.

Legacy and Impact:

Jim Marshall's impact on the music industry extends far beyond the amplifiers that bear his name. His innovative spirit and dedication to meeting the needs of musicians revolutionized the way amplifiers were designed and built. The Marshall sound became synonymous with the energetic and powerful performances of rock and roll, shaping the sonic landscape of countless genres.

Jim Marshall passed away on April 5, 2012, but his legacy lives on through the enduring popularity of Marshall Amplifiers. The company continues to innovate, adapting to new technologies while staying true to the principles set forth by its founder. Marshall amplifiers remain an integral part of the music industry, used by musicians of all levels, from aspiring beginners to seasoned professionals.

Conclusion:

Jim Marshall's journey from a drummer and music shop owner to the creator of one of the most iconic amplifier brands in the world is a testament to his entrepreneurial spirit, passion for music, and commitment to quality. The Marshall Amplification legacy serves as a reminder of the profound impact one individual can have on an entire industry. Jim Marshall's vision and innovation have left an indelible mark on the history of music, ensuring that his name will be remembered for generations to come.

FEATURE: What Do I Expect From My Band

 “Playing in a band, why?” I don't know how many times I heard this sentence many years ago when I was still teaching. Let's now take aside the (mainly) men who are already in everyday working life and ultimately never find a common appointment for rehearsals or the time for personal practice. At least 60% of all typical students between the ages of 14 and 18 already had one back then Their only focus was on being able to play the main riff or solo of their favorite song, then sitting on the bed uploading it to YouTube as quickly as possible, sending the link to their friends and then counting the clicks. Playing a whole song, nope, practicing and partying with friends, nope, developing your own personality on the instrument, nope, and so on. Everything is far too strenuous and, above all, it takes far too long until the first measurable results appear.

The cruel YouTube fixation seems to have subsided a bit recently, but there are still huge differences in what the individual musicians expect from a band that couldn't be bigger. This feature is intended to help you avoid as many pitfalls as possible, at least in advance, in order to experience as much fulfillment as possible in your musical career. So then, what do I expect from my band?

1.) “What kind of music do we actually want to play?”

No matter what points still need to be clarified within a band, at least 50% of all energy will be spent on this point. The problem lies in the different perspectives of the individual musicians and the associated prioritization of their respective activities. If we take as an example a constellation of absolutely equal musicians who meet for the first time for a preliminary discussion, everyone who has already found themselves in this situation will be familiar with the hours-long discussions.

Whether you want to cover or turn to your own titles can be discussed relatively quickly, but once you have decided on the second option, all barriers are usually broken. Everyone tries to focus on a certain style as much as possible and often reduces their fellow musicians to mere vicarious agents. This has never worked and never will! Only if all musicians present want to practice the same style and cite similar role models or influences can one expect a functioning system.

Of course, there are technically outstanding musicians in the professional sector who can play any style and almost any song, but these are purely economic arguments. Of course you can do it like with the DEAD DAISIES, for example, in which guitarist David Lowy, completely unknown himself and fairly talented as a musician, but heir to his father Frank's multi-billion dollar empire, has an impressive stable of musicians for hire of the caliber of Glenn Hughes, Dean Castronovo or Doug Aldrich holds. This works as soon as money flows, but never at the beginning of a career.

2.) Goals

Along with the first point, the second point must also be considered. When the author of this article was still a young Springinsfeld, everyone, absolutely everyone, who could even hold an instrument wanted to become a professional musician. The economic sky in the music industry was full of violins, the advances from the record companies were generous, the salaries were high, and the parties were lavish. The fact that these days are long gone is shown not only by the tiring discussions about tenths of a cent when it comes to musicians' participation in the income of streaming services.

To put it bluntly, 1% of all musicians can make a living from music, of which 49% probably play in well-booked tribute or cover bands, 49% teach and maybe 2% play their own songs. If it goes up, I estimate that a maximum of every thousandth band that plays their own songs will generate a relevant income where ALL musicians in the band can survive on the income. Mind you, survive, not the whirlwind that is often conveyed in the media.

It therefore makes sense to talk about how much you are prepared to give yourself up to this torment and how high your capacity for suffering is right from the start of the band. The statement “We’ll see how well it goes and if it’s worth it, we’ll do it full-time” is nothing more than a paraphrase for “we’ll remain hobby musicians forever”. This is by no means reprehensible, but here too it is important to make the necessary personnel decisions as early as possible. Only those who have the same goals will work together effectively.

3.) Financing

How do you recognize professional musicians? They ask about payment at the first conversation! ;-) OK, the saying is very provocative, but at least it corresponds to my experience. In this regard, you can Don't be angry, but unfortunately this attitude is usually accompanied by the loss of any illusion of the glamorous part of the music. Nevertheless, the financial area always creates a lot of sources of stress of all kinds. Starting with the rehearsal room rent (“the drummer takes up the most space and uses it the most, he should pay more”), travel costs (why should I pay for the other musicians’ travel with my money), technology (“the singer should “pay for the vocal system alone”) and much more.

Ultimately, for the sake of peace, you usually can't avoid having a “treasurer” and later possibly management. I can only recommend that all of the band's income initially be used for ongoing costs such as: B. to take rehearsal room rent and pay out the remaining surplus in equal parts. I would pay every musician who puts on a paid show between 10 - 20% of the fee as a commission, because as a contact person they usually have more work with this show.

It becomes difficult when the band is purely a hobby business, i.e. a loss-making business, and costs are incurred. The only option that helps here is that one person covers all the costs, but then also receives all the income and pays the other musicians proportionately, or everyone sets up a standing order for the costs incurred. I used to chase my “colleagues” for months for €10, something like that just gets annoying and kills any mood.

4.) Punctuality

A very popular topic. Even though Germans have a reputation for being very punctual, and this is undoubtedly the case compared to other countries, everyone has their own idea of when and where they should be. If no one takes it too seriously and everyone comes as they want, the whole thing might still work, but if one or two musicians prevent the other colleagues from starting on time, in my opinion that is nothing other than anti-social behavior.

If a rehearsal starts at 4 p.m. and I have access to the rehearsal room, I'll be there at around 3:30 p.m., set up my stuff and warm up so that we can start at 4 p.m. If your colleagues can't do it that early, you can't start the rehearsal until 5 p.m., no problem, but deliberately making your colleagues wait because you're poorly structured isn't an option! There is always a traffic jam or something special that causes a delay, but this always has to be an exception.

5.) Preparation

Actually a topic that requires no explanation, but is still a very popular point of contention. Who doesn't know that you can only play a song up to a certain part, because then a colleague can't play his part (yet). “I still have to practice it…” What does that have to do with colleagues? You don't meet in the rehearsal room to catch up on your personal finger exercises! It is also very popular for singers to sing the lyrics from sight. It's best to do it two days before the performance and then cover the stage floor with sheets of text. The maximum amount of embarrassment is only surpassed by a music stand on the stage.

People meet to discuss arrangements, practice singing, everything that concerns ALL musicians. You can also play certain parts as a loop to keep everyone safe, but showing up to the rehearsal unprepared is an absolute nonsense.


6.) Personal commitment

Sometimes it feels like there are 2 types of musicians when it comes to work that goes beyond operating their personal instrument. Some do everything, others do nothing. I don't know how many times I've personally tried to assign certain responsibilities within a band, for example one person takes care of loading the van, one does the billing, one maintains contact with technology, etc.

There seems to be this polarization, especially among musicians. I've seen musicians who simply leave their equipment on stage after the show in the sense of "someone will take it with them." That wasn't the case, i.e. H. There was still a lonely bass system and bass on the stage the next day, maybe it's still there today. To what extent you can live with that, everyone has to decide for themselves, but such openly displayed disinterest in the unpleasant work surrounding the band rarely creates a good atmosphere.

Conclusion

In principle, these days you can be grateful for any musician who strives for the anachronistic path of making music in its purest form. Prefabricated loops, DAWs with incredible possibilities and a richly laid out Internet table with countless playalongs contribute to the fact that you hardly want to indulge in the effort of a rehearsal with corresponding social obligations.

However, anyone who has ever experienced the energy of a synchronous band will forever ask themselves how they can transfer even 1% of this feeling into the synthetic world. Nothing can be compared to the experience of the moving air that a great band gives off and only those who know this feeling know why every plugin manufacturer, every programmer and every IT designer does everything they can to be the protagonists of the analog world with their instruments , amplifiers and rooms at least optically to copy.

For my part, I've found that it only makes sense to work and spend time in a room with people you really like, or at least respect to a high degree. Investing time, money and passion in people with whom you would rather not go out for a beer after work has never worked and will always lead to a split in the medium term.

————————-

Additional Informations:

The landscape of the music industry has undergone seismic shifts in recent decades, with technological advancements, changes in consumer behavior, and evolving industry dynamics shaping the opportunities and challenges for musicians. In this comprehensive exploration, we delve into the multifaceted aspects that influence the success prospects of a music band in today's rapidly changing musical ecosystem.

I. The Digital Paradigm:

A. Streaming Platforms:
   1. Streaming platforms have revolutionized music consumption, providing unprecedented access to global audiences.
   2. Bands can leverage these platforms for exposure, but the vast catalog of available music poses challenges for standing out.

B. Social Media and Online Presence:
   1. Social media platforms offer direct communication channels with fans and avenues for self-promotion.
   2. Maintaining a consistent and engaging online presence is crucial for building a loyal fan base and industry visibility.

II. Industry Disruptions and Opportunities:

A. Independent and DIY Movements:
   1. The rise of independent and DIY (Do It Yourself) approaches empowers bands to retain creative control and revenue.
   2. Navigating the complexities of self-promotion, distribution, and marketing requires strategic planning and adaptability.

B. Impact of Technology:
   1. Technological advancements, such as home recording and digital production tools, democratize music creation.
   2. Bands can harness technology to produce high-quality music without the need for extensive studio budgets.

III. Diversification of Revenue Streams:

A. Live Performances:
   1. Despite challenges posed by the COVID-19 pandemic, live performances remain a critical revenue source.
   2. Bands must explore innovative ways, including virtual events and live streaming, to connect with audiences in the absence of traditional gigs.

B. Merchandising and Branding:
   1. Merchandising, including apparel, physical music formats, and branded merchandise, contributes to a band's income.
   2. Building a strong brand identity enhances marketability and fosters a deeper connection with fans.

IV. Challenges in an Oversaturated Market:

A. Oversaturation and Discoverability:
   1. The sheer volume of music available online poses challenges for bands seeking visibility.
   2. Effective strategies for standing out include targeted marketing, niche targeting, and collaboration with influencers.

B. Algorithms and Playlisting:
   1. Algorithms and curated playlists on streaming platforms heavily influence music discovery.
   2. Understanding and navigating these algorithms can significantly impact a band's reach and potential success.

V. Industry Networking and Collaborations:

A. Networking and Relationship Building:
   1. Building relationships with industry professionals, influencers, and other musicians is vital.
   2. Networking facilitates opportunities for collaborations, exposure, and access to valuable resources.

B. Collaborative Projects:
   1. Collaborations with other artists, producers, and brands can expand a band's reach and introduce them to new audiences.
   2. Strategic collaborations can lead to mutually beneficial outcomes in terms of creativity and promotion.

VI. Globalization and Cultural Exchange:

A. Global Reach:
   1. The globalization of the music industry allows bands to reach diverse audiences worldwide.
   2. Cultural exchange and embracing diverse influences contribute to a band's versatility and appeal.

B. Cultural Sensitivity:
   1. Bands must navigate cultural nuances and sensitivities to avoid missteps in an interconnected global music landscape.
   2. Embracing diversity and understanding local markets enhance a band's global success potential.

VII. Adaptability and Resilience:

A. Industry Evolution:
   1. The music industry is in a constant state of evolution, requiring bands to adapt to emerging trends.
   2. Resilience in the face of setbacks and the ability to pivot strategies are essential for sustained success.

B. Fostering Innovation:
   1. Innovative approaches to music creation, promotion, and distribution set bands apart in a rapidly changing landscape.
   2. Embracing new technologies and exploring unconventional avenues contribute to a band's long-term viability.

Conclusion:

In the contemporary music landscape, the success prospects for a band are intricately woven into a tapestry of digital innovation, industry disruptions, diversified revenue streams, and global interconnectedness. While challenges such as oversaturation and algorithmic influence persist, bands armed with strategic planning, adaptability, and a commitment to innovation can navigate the complexities of the industry and carve out a meaningful and sustainable path to success. Ultimately, the modern music landscape offers unprecedented opportunities for those who approach their craft with creativity, resilience, and a forward-thinking mindset.

FEATURE: Preparing for a big tour

 Despite all the economic pessimism that has wreaked havoc within the live music industry in recent years, the so-called “big tours” still exist. I don't mean the worldwide tours of the international superstars of the respective music genres, which will work perfectly for the rest of their existence due to their status, but the segment that covers the area of "saved annual vacation minus family" or "weekend cover within the local federal state”. This area is often covered by the semi-professional musician whose artistic income is not enough to survive and is therefore often secured by a part-time job, but whose priorities are 100% on music and its possibilities. You are welcome to come together here for 4 weeks or more at a time, which will show many points in a different light than what you previously imagined. Let's take a closer look at the economic, social and technical minefield.

The definition of a tour

As most people probably know, the definition of a tour has evolved dramatically over the last two decades. While some time ago the live performance had the function of promoting a new album by the band/artist, from which the majority of the profit was generated, this has now been reversed. Today you bring a new album onto the market to have a reason to tour, since there is no longer any profit to be made from the distribution and sale of a classic record. It's not without reason that the current Media Control Charts have fallen in reputation, as sales of almost 3,000 albums within a week are now enough to reach second place. The famous top 10 placement is therefore just a gleam in the eyes of the musicians, although the businessman waves it off with a smile and what can be “earned” in the area of streaming below the multi-million mark due to the criminal distribution level is probably well known by now.

Therefore, playing live in combination with the most important aspect of touring, the sale of merchandise, and for larger acts also the sale of VIP tickets, offers the last bastion of making a significant profit, whereby the breakdown of the fee = cap on the travel costs and transport costs, merchandise = profit from the tour in the order of an average of around 300 visitors per show. Anyone who sets about planning a strict tour, preferably without day-offs for more than a month, is confronted with several imponderables, especially at the beginning of their career, which, depending on the amount of work and accumulation, can quickly capsize the “tour” boat. So, what should you pay attention to on a “big tour”?

1.) Physical

Like the author of this article, you don't have to have exceeded a certain quota of decades to know that a tour that exceeds the sequence "Fri., Sat., possibly Sun. on tour, then 4 days at home" is one represents a mammoth physical task. What is often presented to the outside world as a “2-hour show, otherwise it’s cool to hang out on the bus and play video games” actually demands far more from the body, especially in the area of sleep deficiency/imbalance, than you might initially imagine. When you're in your early 20s, the whole thing seems like a joke, as you can easily go a week without sleep and celebrate every day when your rind cracks, but this week is also coming to an end and with it your fitness. Every day you spend on tour, you lose a percentage of your fitness, which eventually ends in total exhaustion. Therefore, the more you have trained your body in advance for fitness, a healthy diet and a balanced daily routine, the longer you will ultimately last.

2.) Psyche

Point 2 is even more severe than point 1, as you cannot prepare adequately here. Only those who manage to completely give up their privacy for the duration of the tour can really enjoy everyday tour life. If you work with hotel beds and have the luxury of single beds, you may be able to build a small refuge into which you can at least partially retreat. However, anyone who works with nightliners/tour buses is forced to subordinate their personal daily routine to the entire tour party. There is extreme crampedness, completely different ideas about the room temperature, always too little space for everything, not to mention sleeping on a roaring diesel, which with a bit of luck will perhaps be replaced by an electric motor in the medium term. This scenario wears down anyone who hasn't either known this procedure for years or has their psychology well under control.

3.) Equipment

To put it briefly, it must, not it should, everything MUST be present twice on a longer tour. Not just the guitar and maybe a spare cable, but really everything. Power supplies, stompboxes, power cords, guitar straps, DI boxes, amplifiers, speakers, in-ear systems, transmitters, microphones, just about everything. I've experienced tours where the keyboard player broke a C key during the show, after which he was able to demonstrate his spontaneous performance in the area of inversions. Or keyboard players whose keyboard has completely given up the ghost and the MacBook keyboard has been used for other purposes, at least for layer work.

Of course there are also wearing parts such as strings, drumsticks, skins, gaffa tape, but also unusual things such as the cerumen filters of the Inear systems. As soon as the filters become clogged, there is no longer any treble on the earphones, which reduces the monitoring to absurdity. It goes without saying that every part should be checked for functionality beforehand, but you wouldn't believe how often colleagues show up at the venue with empty batteries. It is helpful to have items such as: B. to get batteries in a maxi pack so that everyone can use them and to have the costs paid from the tour revenue. This means that my colleagues also have functioning equipment who only take responsibility for sound and functionality up to the output socket of their instrument and believe me, I also have such representatives in my direct work environment.

Another point, if not the most important point of a big tour is the packaging in cases. I know colleagues who check in their instrument in the cardboard delivery box at the airline check-in counter and are surprised that more kindling arrives at the destination than anything else. Professional flight cases or at least high-quality hardshell cases are now available for really little money and if your instrument is not worth at least this protection, you at least have an obligation to the tour crew to offer functioning equipment every evening.

4.) Touring abroad

The specifics of foreign tours would go far beyond the scope of this article; the topic of visas alone would take up several reports, not to mention the topics of import regulations, mains voltages, radio frequencies, foreign tax, residence permits and much, much more. Therefore, we leave the overseas area out of the equation and only deal with the most important points in the EU area, which significantly simplifies the problem. Apart from our Swiss friends, who can get on your last nerve with their import and export regulations, touring in the EU is comparatively easy. The currency is (still) mostly the same, there are no longer any physical border controls, we all drive on the right side and our mains voltage is more or less fixed at 230V. In addition, the power plugs are mostly compatible, exceptions such as the non-EU countries GB and CH must be taken into account when making a detour.

Aside from the distances between countries, depending on the country there is actually only one big problem that you should always keep in mind: the problem of communication. The fact that English is the first foreign language in school in every country still does not seem to have sunk in in some countries. Unfortunately, the situation only changes very, very slowly and, especially in the local music sector, you are completely lost without rudimentary local language skills, although there is a typical north-south divide. While you can usually find excellent English in the Scandinavian countries or the Netherlands, unfortunately countries like Greece, Italy and Spain still occupy the last places, at least in the music sector. I don't know how many times my backliner Bernie, who speaks fluent Spanish, has saved our asses, from a simple order in a restaurant to security at an international airport in Spain. Not a word of English!

Therefore, you should familiarize yourself with the translator functions of your cell phone in good time. Both operating systems now have good functions, so that you can at least discuss the most important points in the local language. When it comes to musical terminology, most programs fail.

A final tip: nothing is as well received at foreign shows as a few announcement phrases in the local language. Of course you can wave the respective national flag after the encore, but this involves a lot of logistical effort and some transport costs. For example, you are better served with “Witajcie przyjaciele, cieszymy się, że jesteśmy z wami.” (Polish) in phonetic transcription.

Have fun and good luck with your shows!

———————-

Additional Informations:

The global nature of the music industry often necessitates musicians to travel internationally for tours, performances, collaborations, and promotional activities. However, the COVID-19 pandemic and other geopolitical factors have significantly impacted international travel, leading to a myriad of entry restrictions and requirements for musicians. In this detailed exploration, we will delve into the complex landscape of international entry restrictions that musicians face, considering the diverse policies across countries and the evolving nature of travel regulations.

I. Impact of the COVID-19 Pandemic:

A. Travel Bans and Restrictions:
   1. Many countries have implemented travel bans or restrictions in response to the ongoing COVID-19 pandemic.
   2. These restrictions may include quarantine requirements, vaccination mandates, and specific entry protocols.

B. Dynamic Nature of Regulations:
   1. Entry requirements are subject to change based on the prevailing global health situation.
   2. Musicians must stay informed about real-time updates and be prepared for sudden changes in entry regulations.

II. Visa and Work Permit Considerations:

A. Artist Visas and Work Permits:
   1. Musicians often require specific artist visas or work permits to perform in foreign countries.
   2. The application process for these documents varies by country and may involve extensive paperwork and coordination with event organizers.

B. Timing and Planning:
   1. Securing visas and work permits can be time-consuming, and musicians must plan well in advance of their intended travel dates.
   2. Delays in visa processing can impact tour schedules and contractual obligations.

III. Entry Requirements by Region:

A. Europe:
   1. The European Union (EU) has implemented the Schengen Area, allowing for easier travel within member countries.
   2. However, individual countries within the EU may have varying entry requirements, particularly in the context of the post-Brexit landscape.

B. North America:
   1. The United States and Canada, both major destinations for international touring, have specific entry requirements for musicians.
   2. Navigating the visa process and adhering to border control regulations is crucial for seamless entry.

C. Asia:
   1. Asian countries often have strict entry requirements, with variations in visa types and processing times.
   2. Cultural differences and language barriers may pose additional challenges for musicians navigating entry regulations in this region.

D. South America:
   1. Entry requirements in South American countries can vary, with some nations requiring specific documentation for artists.
   2. Musicians must be aware of the diverse regulations in place across this continent.

IV. Pandemic-Related Protocols:

A. Vaccination Requirements:
   1. Some countries mandate vaccination against COVID-19 for entry.
   2. Musicians may need to provide proof of vaccination and adhere to booster shot recommendations.

B. Testing Protocols:
   1. COVID-19 testing, including pre-departure and post-arrival tests, is often a standard entry requirement.
   2. Musicians must plan for the associated costs and logistics of testing while on tour.

V. Collaboration with Industry Professionals:

A. Tour Managers and Agents:
   1. Collaborating with experienced tour managers and agents is essential for navigating complex entry regulations.
   2. Industry professionals can provide guidance on visa applications, entry requirements, and logistical planning.

B. Legal Counsel:
   1. Seeking legal counsel familiar with international travel regulations for musicians can ensure compliance and mitigate risks.
   2. Legal advisors can assist with visa applications, contractual agreements, and dispute resolution.

VI. Future Outlook and Adaptation:

A. Advocacy for Streamlined Regulations:
   1. Industry organizations and musicians' associations may advocate for streamlined international entry regulations for artists.
   2. Collaborative efforts can lead to improved visa processes and standardized entry requirements.

B. Technological Solutions:
   1. Advancements in technology may facilitate smoother entry processes, such as digital visa applications and streamlined document verification.
   2. Musicians should stay abreast of technological innovations that could simplify international travel.

Conclusion:

Navigating international entry as a musician involves a complex interplay of COVID-19-related protocols, visa requirements, and regional entry regulations. The evolving nature of the global landscape requires musicians to stay informed, plan meticulously, and collaborate with industry professionals to ensure seamless and compliant travel. Despite the challenges, adapting to the dynamic entry requirements is crucial for musicians to continue sharing their art on a global stage and fostering cross-cultural musical exchanges.

FEATURE: Is it still possible to make a living from music?

 Is it even possible to make a living from music anymore? Answer: No! Well, workshop over, I hope you have a nice rest of the day. Stop, stop, stop, such a statement would not only be presumptuous, it would also be factually incorrect in certain constellations. We all have a DJ in our circle of friends who plays six times a month and ends up with at least €3,000 before taxes at the end of the month. Sounds like it's viable, right? Well, this feature is intended to give a true insight into the economic structures of the music business and to clear up as many prejudices as possible so that the future musician knows what and, above all, what not to expect.

Vision and reality

Professional musicians know the party situation all too well. Anyone who cites musicians when asked about their personal source of income receives a mixture of admiration and pity, unless their name is linked to a nationally known trademark of a band or solo artist. On the one hand, with the appropriate external representation of the artist, the never-ending dream constellations of wild and extravagant sex, drugs and rock'n'roll immediately pop up in the person you are talking to, and on the other hand, it only lasts for a short time, in an indirect or even very direct way the question “And can you make a living from this?” arises. Of course the party answer is “yes”, knowing full well that you probably interpreted the definition differently than your counterpart. While the interlocutor sees us in his imagination on a large open air in front of thousands of screaming fans, highly paid and sold-out concerts, garnished with high-dollar record contracts, we are still thinking about how much guitar lessons, trade fair sound systems and the half-playback hit duo are still using the above definition lets you unite yourself.

To define it briefly, of course you can make a living from music, just ask again about the fees that KISS, for example, receive on their current farewell tour or the guarantee of 1 million per band member that the Rolling Stones still receive per show some time ago on their tours. In this feature we are concerned with a constellation that probably 99% of all musicians have started with and perhaps will continue to do so for a while, i.e. a band of 4-6 musicians, each playing a different instrument to cover the respective frequency range and all have set themselves the goal of writing their own songs that are useful to the band and of having so much economic success with them that all band members can make an equal living from them. To get straight to the point, in this situation the answer is actually as described in the first two sentences of this article.

The school of hard knocks

Rock is dead! Oh man, how many times has this sentence been used and how often it has been misused by artists to perhaps justify the inferiority of their musical product and the resulting decline in income. For the sake of simplicity, let's stick with the countless varieties of rock music and list the relationships. Emerging in the 1950s, adopted in the 1960s and perfected in the 1970s, rock music always had something “dangerous” about it; it always had to be a little “outlaw” in order to consolidate one’s personal status. This external representation has long since passed over into hip hop, even to the point of verbal perversion, while rock music tries to maintain a touch of provocation with the extreme varieties of metal, which have long since moved away from any harmonic structure. What almost 5 decades ago made law enforcement and moral guardians blush with anger, today just passes for pop music in the oldies range and no longer has any fascination for the next generation of music.

Due to the fact that current DAWs with appropriate emulations enable anyone to make a piece of music of any quality available worldwide via streaming services, there is no longer any distinction in the first exploitation step between a global star like Paul McCartney and an acoustic burp in the hobby sector. The result is a hopeless oversaturation with output of all kinds, which can only be countered with massive marketing and promotional activities to draw attention to a still unknown artist. This means that you first have to invest a huge amount of money into an artist before you can even think about making money. Heinz Rudolf Kunze once told me that he only did lousy things with his first three albums, with the fourth album the numbers went black, albums five and six paid off the debts and from album seven onwards a profit was made. Over 10 years had passed... This form of artist development is long gone and is not coming back. But what are the earning potential and who is to blame for these numbers?

The story of the cashier at Aldi

Ok, what kind of income do we actually have? What if I told you that at every big festival with international stars, maybe 25% of the bands, i.e. only the top ones on the poster, actually make a “normal” living from music and maybe the two headliners have the same standard of living , which we all still associate with the extravagant life of the eighties. All other artists have a daytime job.

Well, we would have

1.) Sales of physical recordings via retail or online shops
2.) Digital exploitation via streaming and downloading
3.) Live fees
4.) Selling merchandise
5.) GEMA
6.) GVL

P.S. In order not to throw in the towel straight away, let's leave out the Corona catastrophe and only look at the period before 2020 and perhaps again from the end of 2022.

Regarding 1.) The area of physical recordings, especially CDs, has almost come to a standstill. Although there is a relatively stable area of around 7% in vinyl sales, this cannot stop the decline in income from physical sales. Quote from Warren Hayes: “I used to have a budget of $300,000 per album and sold 300,000 copies of the resulting album. Today I have a budget of $30,000 and am selling 300 pieces.

Based on these figures, although he may have exaggerated the last figure a bit, record companies now only pay advances for recordings to established acts, with advances having decreased by an average of around 70% over the last 20 years. Not only do newcomers have to pay for all recordings for their albums out of their own pocket, the majority of record companies now charge artists a fee to include them in their distribution structure due to the ever-slumping income. The band musician who works a regular 9-to-5 job, saves his annual vacation for performances and pays all expenses himself in order to be able to at least take part in the rock 'n' roll circus a little bit is now the standard, not the exception.

2.) Everyone has heard about it, but the exact numbers are even more terrible than you could even imagine in your worst dreams. Sure, an Ed Sheeran, who has billions of clicks on Spotify and can therefore negotiate separate deals with the streaming platforms, also earns a hefty multi-digit million sum in this area per year, but the common musician only receives fractions of a cent for it his performance. In a nutshell without any claim to being up to date: Streaming a track on Spotify Premium costs around €0.003, of which your digital distributor takes around 20%, or the record company takes around 70% in a standard deal, making around €0.001 €. You then divide this generously by the number of musicians in the band, which makes around €0.0002 per song with 5 musicians. Your album has 10 tracks, i.e. H. If 10,000 fans listen to your entire album, you will receive €1 per musician! Do you think that's ridiculous? That was the income for a Spotify Premium account, with a free account the income is reduced to approx. 1/10. Then around 100,000 fans have to hear your album so that each musician receives €1!

3.) Due to the Corona pandemic, prices in transport have exploded by almost 100%. A Nightliner in the middle segment including a driver currently costs around €1,750 per day, which means that a large part of the fee goes towards producing an average tour. In the best case, a little remains with the artists, but the majority of tours are also in the red. Then why play live at all? Now, so we can launch the only remaining revenue generator, this

Regarding 4.) Merchandise. This is actually the last opportunity for the artist to improve the economic situation in a relatively simple manner. Of course, the record companies have discovered this for themselves, which is why in the newcomer sector almost only so-called 360 degree deals are offered, which means that the record company shares in all the income that the artist earns in any way from his music. Evil record companies? Not at all! Almost all lower and medium-sized labels are fighting for survival and almost all of them are only run as a hobby.

5.) Getting upset about GEMA's distribution levels means bringing owls to Athens. For decades, attempts have been made to give the private company with a public mandate a fairer distribution of the income generated from the cross, but due to the structure that the more sales you generate with your music, you also receive a higher and higher share from GEMA the “common” musician only gets the breadcrumbs that he is assigned as an affiliated member.

6.) Once a good thing, as a musician you received your Christmas bonus in the form of a percentage distribution on all sound recording sales in December. This “gratification” was canceled overnight without giving any reasons. Just think about whether you would carry out such an action in the public service or other service sector. But a real musician has no means of exerting pressure. What should you do as a threat? Strike? Don't write songs anymore? But the municipalities are shaking. The value of art in general beyond the subsidized cultural institutions in Germany has only just become apparent during the Corona pandemic. “Not systemically relevant”, or in other words, unimportant and without measurable value.

Let's make it short. Of course, established bands live by their name and still manage to generate enough sales until their final expiry date, which has already been mercilessly overused by some artists, to be able to lead a good to very good life. But anyone who now cites the perhaps five newcomers who have achieved a certain reputation worldwide within a year as a counter-argument and forgets the thousands upon thousands of bands who operate music as a subsidy business and looks away with a glorified look is indulging in an illusion . To get to the point, the classic band that makes it to the top both artistically and economically within the band will no longer exist in the future and will instead be replaced by countless hobby bands who have to perform at maximum cost price. If you ever plan to start a family and support it as a sole earner, you should definitely choose another career.

So, at the next party, always remember that your musical newcomer, who makes a living from music, most likely has one or more other irons in the economic fire, or he may earn significantly less than the cashier at Aldi. But that doesn't mean you can't have a great party with him ;-)

————————-

Additional Informations:

The pursuit of a career in music is often fueled by passion, creativity, and a deep love for the art form. However, the financial landscape for musicians can be as diverse as the melodies they create, with income sources ranging from live performances to streaming royalties. In this comprehensive analysis, we delve into the intricacies of musicians' average incomes, exploring the various revenue streams, disparities across genres, and the impact of the evolving music industry.

I. Live Performances:

A. Income Range:
   1. Musicians often rely heavily on live performances as a primary source of income.
   2. The income from gigs can vary significantly, ranging from modest payments at local venues to substantial fees at major festivals and concert halls.

B. Considerations:
   1. Venue size, location, and the artist's popularity all influence the earnings from live performances.
   2. Expenses such as travel, accommodations, and equipment can impact the overall profitability of a tour.

II. Streaming and Digital Sales:

A. Income Range:
   1. The rise of digital platforms has transformed the music industry, offering musicians new revenue streams.
   2. Streaming royalties, however, can be relatively low, with artists earning fractions of a cent per stream.

B. Considerations:
   1. Platform choice, audience size, and region can affect streaming income.
   2. Diversifying digital sales through platforms like Bandcamp or Patreon can provide additional revenue streams.

III. Record Sales and Physical Merchandise:

A. Income Range:
   1. Traditional record sales have declined, but physical merchandise remains a lucrative revenue source for many musicians.
   2. Vinyl records, CDs, and merchandise sales at live shows contribute significantly to artists' incomes.

B. Considerations:
   1. Independent artists may benefit more from direct-to-fan sales, retaining a larger share of the profits.
   2. Creative and visually appealing merchandise can enhance sales and fan engagement.

IV. Royalties and Licensing:

A. Income Range:
   1. Musicians earn royalties through various channels, including radio airplay, TV, and film licensing.
   2. Licensing deals for commercials, movies, and TV shows can provide substantial one-time payments.

B. Considerations:
   1. Success in securing licensing deals often depends on the artist's visibility, genre, and the potential fit of their music with a particular project.
   2. Joining a performing rights organization (PRO) helps musicians collect royalties for public performances and broadcasts.

V. Teaching and Session Work:

A. Income Range:
   1. Many musicians supplement their income through teaching music lessons or participating in session work.
   2. Session musicians can earn fees for recording sessions and live performances with other artists.

B. Considerations:
   1. Teaching opportunities vary based on the musician's expertise, reputation, and local demand for music education.
   2. Session work often requires networking and versatility in playing different styles of music.

VI. Challenges and Disparities:

A. Genre Disparities:
   1. Income disparities exist across music genres, with pop and mainstream genres often yielding higher financial returns.
   2. Musicians in niche or experimental genres may face challenges in monetizing their work.

B. Emerging Artists:
   1. Emerging artists often struggle to establish consistent income streams, especially during the initial stages of their careers.
   2. Building a fan base and industry connections is crucial for unlocking diverse revenue opportunities.

VII. The Impact of the Evolving Music Industry:

A. Digital Transformation:
   1. The shift from physical to digital formats has altered revenue models for musicians.
   2. Adaptation to digital platforms and social media is essential for reaching a wider audience and maximizing income.

B. Advocacy and Fair Compensation:
   1. Ongoing advocacy efforts seek fair compensation for musicians, particularly in the context of streaming royalties.
   2. Awareness and support for musicians' rights can contribute to a more equitable financial landscape.

Conclusion:

The average incomes of musicians are a complex interplay of various factors, from the genre they specialize in to the platforms they leverage and the diversity of their revenue streams. While challenges and disparities exist, the evolving music industry offers both opportunities and hurdles for artists navigating the financial aspects of their careers. Ultimately, the pursuit of a sustainable music career requires a multifaceted approach, combining artistic passion with strategic business acumen to thrive in a dynamic and competitive landscape.