Since I've been so forthright in my promotion of the music like water service, I'd like to backtrack a second and point out my views of the problematic nature this system will create. What are the problems inherent in creating a primarily online audience base? In my experience, there are several important ones, including:
1. Anonymity of Audience
I have no way of knowing that some taste maker, somebody who could potentially shift some $$$ or audiences or performances my way has downloaded and totally dug my music. There is an implicit assumption that the downloading of music is always anonymous and not something such as a purchase that might benefit from some type of validation. Admittedly, this is a leftover part of the online::offline critical machine, but it still effects how the online audience responds and how even millions of downloads can produce no effect whatsoever in the offline audience.
2. Assumptions about offline credibility
There are still assumptions that if you deploy your content primarily offline that it is because you have to. That you've been forced to, from a lack of interest in the real world, typically because you suck. Amazingly, my friends who shell out $$$ to record and press their CD's in what used to be called vanity projects can more easily get online reviews with 1/100th of the number of listeners.
3. Bandwidth Costs
Even one recommendation can lead to a catastrophic failure in your ability to maintain a decent pipe of content.
4. Limited Offline Recognition
No matter how many listens I've received, the offline critics are primarily focussed on live performances and real CD's. No matter the size of the audience (often miniscule) or the number of CD's the musician has sold.
Anyways, I've been pitching more musicians get their music online and give it away... these are a few of the pitfalls that await this type of distro methodology. I'll be adding a few more as they wack me across the head.Posted by jeff at August 2, 2005 11:09 AM | TrackBack