by Peter Wolf.

Peter Wolf

Imagine what the Beatles or the Rolling Stones could have done with modern day software applications or programs such as Logic, Nuendo or Pro Tools had such programs been around 30 years ago. The thought is scary considering that Sgt. Pepper was a 4-track production utilizing two Telefunken M15 tape recorders linked to each other.

While the creating and even song writing procedure has gotten a lot easier, ‘making it’ as an Artist seems to be as difficult as it’s always been. With the increasing amount of music, artists and performers, it hasn’t become easier to ‘land’ a deal. If anything, it has become more complicated. The record companies aren’t spending money as readily as they did in the ‘70s and ‘80s, even the ‘90s. There is so much great music available today that it must be difficult for A&R managers at record labels. The simple fact that somebody has great songs and knows what he/she’s doing isn’t going to suffice anymore, if it ever did.

We’ve all heard the stories about record executives using unsolicited tapes like blanks to record music for their kids, family or friends. The stories are probably true.

My writing and recording partner, Thomas, and I did a test several years ago. We sent 25 blank CDs to major record companies, unsolicited, with an accompanying humble letter and two pictures of a befriended older couple. During the course of four weeks, we received 12 letters from record companies telling us, “Although we think you’ve got something, we don’t feel you’re ready yet. Please continue to send us new material at your convenience,” or something of that nature.

Many serious musicians have grown tired of dealing with people who won’t listen to music they’ve put their hearts and souls into and have been trying to find other opportunities to exploit their creations. As a result, the so-called independent music scene has grown larger than ever and meanwhile a growing number of artists are proud of the fact that they got signed by an independent label rather than a so-called major label.

In the meantime, Internet portals presenting artists and their music are popping up like mushrooms. Some of these opportunities to present and spread independently produced music are interesting and promising. “Self-promotion” of artists and their music is about to become a serious and professional part of the music industry and it will become an even larger part of the environment as time goes by. Some of these portals are myspace.com, iacmusic.com, musicsponge.com, indie911.com, besonic.com, download.com, myownmusic.com, cdbaby.com, theorchard.com, youtube.com.

The advantage for songwriters, musicians and artists in general is that they don’t have to have a record deal to get their music heard by, theoretically, everyone around the world and that it largely depends on their own marketing skills, time and efforts to be heard, rather than having to rely on other individuals or companies to promote their music.

At the same time, the medium ‘CD’ is starting to become obsolete. The success of I-Tunes and other music download sites has led to lesser focus on entire albums but instead a stronger focus on individual songs. One doesn’t have to buy a CD from a certain artist anymore if one only likes a few songs from a particular album. Over the next couple of years, this will, again, change the face of the music industry.

However, as far as ‘success’ or ‘making it’ in the music industry is concerned, little has changed. Whether an Artist or a Band have their own web site, whether they are present on portals such as the ones mentioned, the biggest challenge is to drive ‘traffic’ to their sites in order to get their music heard. The mechanism of the market kicks in and the most sophisticated web based marketing platform doesn’t do much, if nobody knows about it or isn’t able to find it. The same is true for distribution.

Another problem is that the attention span in everyone’s life has gotten so short that decisions are made much more in the moment and original buying decisions are forgotten if the product is not readily available everywhere. In general, people also have a tendency to be attracted to products if a large number of other people are attracted to them, too.

The majority of music being played on TV or radio is coming from traditionally sourced and distributed music by the Big Four (Sony-BMG, Universal, Warner, Virgin) and their respective labels.

There are differences between Europe and the US, though. The fact that the number of radio stations in the US is ten fold higher than in Europe, allows for independent music to sneak in easier every once in awhile. In Europe, for instance, you can’t be played on the radio without a major deal. Your music can’t be played if it doesn’t have a label code on the CD, clearly indicating to the radio stations/DJs who own the rights to the music.

A label code can only be obtained by a label, which takes all other music out of the equation as far as airplay is concerned. This has lead to a fairly compressed selection of music being played on European radio stations. Some European countries, such as France and Italy, for example, furthermore have a selection process in place based on a formal law, only allowing 50% of foreign produced music in foreign languages to be played on the radio.

Despite the differences between major markets and the mechanisms of the record and recording industry, the fact that anyone anywhere in the World can put out a piece of music, literally at any given moment and get it heard by a large number of people, is a great accomplishment.

I personally think that the music industry as a whole should have an interest in supporting and promoting independent music and the appropriate platforms. If I’m not mistaken, this trend will continue and help to create opportunities, musicians in general will benefit from strongly.