To Spotify or Not?

[pablolie]

...

I'm sorry, let me show my ignorance here, what is LMS. I've tried to Gaggle it but, does it have something to do with the Lyrion music server platform?

It used to be Slimdevices, then acquired by Logitech... who didn't know what to do with a software ecosystem because they just do hardware sales with mice and such.

Once Logitech discontinued the product line (in 2012 if memory serves), it became an open software project which culminated in the current Lyrion Music Server instantiation. It is stellar. Can you imagine staying with the same software ecosystem for 20+ years?

I love it. Got into it in 2005 as an experiment... and never looked back.

 

[Sal1950]

I love it. Got into it in 2005 as an experiment... and never looked back.

Thanks, I was more aware of Squeezbox though never used it. A quick read of that Wiki page references as somewhat bandwidth limited, can it stream multich high rez audio or 4k video over network? I use Kodi-VLC-Strawberry over HDMI but the distance becomes a real headache, for 50ft I'm using a active optical cable but still this system can be touchy. Networking is far from my background.

 

[sergeauckland]

I'm sorry, let me show my ignorance here, what is LMS. I've tried to Gaggle it but, does it have something to do with the Lyrion music server platform?

Yes, LMS is Lyrion Music (or Media) Server. Used to be Logitech MS, before that Slimserver. It's supported by a community of programmers that keep it updated.

S

 

[PristineSound]

Just came across this podcast, thought about this thread.

The summary: how megatours came about. One of the reasons cited is that artists focused on live shows because of dropping revenue at the start of illegal download days.

This is the new business model now. The artists that suffers the most are the artists who do this part time, as they cannot afford to take time away from work and concerns are requires investors, which is very difficult.

BBC World Service - The Inquiry, How did music megatours become such a money spinner?

How did live music evolve into a billion-dollar business for global stars?

www.bbc.co.uk

 

[pablolie]

Just came across this podcast, thought about this thread.

The summary: how megatours came about. One of the reasons cited is that artists focused on live shows because of dropping revenue at the start of illegal download days.

This is the new business model now. The artists that suffers the most are the artists who do this part time, as they cannot afford to take time away from work and concerns are requires investors, which is very difficult.

BBC World Service - The Inquiry, How did music megatours become such a money spinner?

How did live music evolve into a billion-dollar business for global stars?

www.bbc.co.uk

How is that in any way different from standard professional life for all of us? Why should artists be artificially shielded from the fact that, to make a lot of money, you have to be a star in your field of supposed expertise? They sign the dotted line to get their music to play on whatever streaming service. It's their decision, and why would I call them incompetent when it comes to making their business decisions? Yeah there's a lot of competition. Welcome to market economy.

I am actually getting tired of the argument that artists are too stupid to make educated decisions about the channels they use to distribute their art to the public.

Illegal downloads have nothing to do with streaming services. They existed before, and it is up to consumers to show respect for intellectual property. There are severe potential risks in downloading and owning stolen intellectual property. It's consumers thinking that way that are the problem, not streaming services that actually pay artists for every time their songs play.

 

[PristineSound]

How is that in any way different from standard professional life for all of us? Why should artists be artificially shielded from the fact that, to make a lot of money, you have to be a star in your field of supposed expertise? They sign the dotted line to get their music to play on whatever streaming service. It's their decision, and why would I call them incompetent when it comes to making their business decisions? Yeah there's a lot of competition. Welcome to market economy.

I am actually getting tired of the argument that artists are too stupid to make educated decisions about the channels they use to distribute their art to the public.

Illegal downloads have nothing to do with streaming services. They existed before, and it is up to consumers to show respect for intellectual property. There are severe potential risks in downloading and owning stolen intellectual property. It's consumers thinking that way that are the problem, not streaming services that actually pay artists for every time their songs play.

I am not an advocate for artists streaming pay. The pay is the pay, if you don't like it, get off of the platform.

I'm just sharing an analysis of the current reality: If an artist wants to make money, understand and embrace the reality, the money is from shows not album sales.

 

[Somafunk]

I am not an advocate for artists streaming pay. The pay is the pay, if you don't like it, get off of the platform.

I'm just sharing an analysis of the current reality: If an artist wants to make money, understand and embrace the reality, the money is from shows not album sales.

Not necessarily, I know quite a few electronic and trad artists (instruments) who make a living from album and physical sales through a dedicated fan base on the likes of Bandcamp

 

[PristineSound]

Not necessarily, I know quite a few electronic and trad artists (instruments) who make a living from album and physical sales through a dedicated fan base on the likes of Bandcamp

Of course there are exceptions and ability to "make a living."

But most (and those who want to the big bucks) need to hit the road and perform live shows.

 

[pablolie]

Not necessarily, I know quite a few electronic and trad artists (instruments) who make a living from album and physical sales through a dedicated fan base on the likes of Bandcamp

The decision to go independent also has to do with artistic control. Nothing new there. You sign for a major label, they have a major say... and these days simply use replaceable big name artists they may discard at their whim, because they are just figureheads for a marketing experiment while it lasts. Remember Prince becoming The Symbol and such. Wasn't primarily about $$ (he'd made a ton with label support), was about artistic direction and control.

I buy from several artists on Bandcamp. Ottmar Liebert is an interesting example... but he is also a character. Used to be mainstream, he clearly got tired of the constant pressure and went independent in the end on Bandcamp. But his comfort level also shows in his current output, which seems repetitive, I am sorry to say as a long-time follower.

Steaming companies are no more evil than the radio stations that used to be the vehicle to promote music way back when...