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#101026 Sagnewshreds

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Posted 14 August 2016 - 07:44 PM

Robby shut the fuck up I want a Mountain Chiefs Berserk shirt and I will pay you money for it.
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#101027 mooniniteG

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Posted 14 August 2016 - 08:03 PM

Demonstray, what about charging for covers outside of VG music? Bowie's done it. Dirty Loops has done it. Probably more popular acts than you can think of it have done it.


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#101028 Robby V

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Posted 14 August 2016 - 08:06 PM

Hell, Metallica has made an entire career of being the world's worst Megadeth cover band
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#101029 Magicalyardgnome

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Posted 14 August 2016 - 08:11 PM

Hell, Metallica has made an entire career of being the world's worst Megadeth cover band

 

34695-regular-show-OH-SNAP-gif-6VDw.gif


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#101030 Jace

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Posted 14 August 2016 - 10:26 PM

Music and money do not belong together in a time when a basic recording setup costs less than most hobbies, and distribution is free.

Unless it is for live shows, and even then local shows should be free.

 

 

I understand what you're saying but I also feel like there's some merit to the idea of time itself (spent learning music, rehearsing it as an ensemble, and getting to and from shows) being valuable in some way.


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#101031 Demonstray

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Posted 14 August 2016 - 10:43 PM

Demonstray, what about charging for covers outside of VG music? Bowie's done it. Dirty Loops has done it. Probably more popular acts than you can think of it have done it.


Bowie and Kim Wilde and lots of artists of that era had lots of fun throwing covers of older music with updated sounds and production into their otherwise original albums. I honestly don't have a problem with when bands throw one or two covers at the end of their album or whatever they feel like, because at least the majority of the album was their own work and they used their spare time to throw something silly or fun in.

Dirty Loops...that's complicated for me because they make the songs so different, that I can barely recognize them and there is so much original writing and performance in each song that it feels like they just used the sources as outlines and made totally new songs out of them. Not all the time, but much of it. Also their album was quite cheap so that was a plus. And I got the physical copy because that's still part of my rule.
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#101032 Sagnewshreds

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Posted 14 August 2016 - 10:46 PM

Isn't that what ocremixes are anyway though? I mean I guess it doesn't matter because the whole point of this was about how OCR isn't actually profiting from any of it.

Except DJP probably just bought a TWO Ferraris with ad revenue from Strader's Chrono cross remix.
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#101033 Demonstray

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Posted 14 August 2016 - 11:36 PM

Ain't never heard an OCRemix that wasn't just a direct cover with new instruments and a key change with a guitar or keyboard solo, except ones from DoD regulars which rule. If you're reading this and you've had your music on OCR, you rule.

And DJP bought three Ferraris and a seaside mansion with the ad revenue from Tony's ActRaiser and Final Fantasy VI and Kirby remixes and shit.
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#101034 mooniniteG

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Posted 15 August 2016 - 12:59 AM

Bowie and Kim Wilde and lots of artists of that era had lots of fun throwing covers of older music with updated sounds and production into their otherwise original albums. I honestly don't have a problem with when bands throw one or two covers at the end of their album or whatever they feel like, because at least the majority of the album was their own work and they used their spare time to throw something silly or fun in.

 

Bowie also did an album of all covers:

 

https://en.wikipedia.org/wiki/Pin_Ups

 

Just sayin'.


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#101035 atomic-guy

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Posted 15 August 2016 - 03:56 AM

Yeah Frank Sinatra was a hack, too.
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and maybe even bring your lovable friend ratboy. or evilsonic, whatever his name is.


#101036 Vegeroth

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Posted 15 August 2016 - 04:35 AM

Everything is a remix


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#101037 Robby V

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Posted 15 August 2016 - 04:41 AM

Music and money do not belong together in a time when a basic recording setup costs less than most hobbies, and distribution is free.
Unless it is for live shows, and even then local shows should be free.

 
 
I understand what you're saying but I also feel like there's some merit to the idea of time itself (spent learning music, rehearsing it as an ensemble, and getting to and from shows) being valuable in some way.
I personally enjoy the ride for all of those things, and most of the time I enjoy sharing my music with people at shows more than they like listening to it.

When I played soccer I didn't expect to be compensated for practicing or going to games. It felt good to improve myself and test myself. I feel like this applies to most other hobbies, like karate, war hammer, larping, etc

I think that people should definitely be compensated for teaching music or licensing it out/selling it to anything that'd be profiting off of it.

I also don't look down on people who do make money off of their music, but I don't really get it and hope that one day it kinda goes away. It seems like a relic of when cutting and distributing an album took a small fortune.
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#101038 Demonstray

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Posted 15 August 2016 - 06:39 AM

Bowie and Kim Wilde and lots of artists of that era had lots of fun throwing covers of older music with updated sounds and production into their otherwise original albums. I honestly don't have a problem with when bands throw one or two covers at the end of their album or whatever they feel like, because at least the majority of the album was their own work and they used their spare time to throw something silly or fun in.


Bowie also did an album of all covers:

https://en.wikipedia.org/wiki/Pin_Ups

Just sayin'.

That article states that the album was intended to bring songs from lesser-known England musical acts to popularity in the States, though the studio forced him to throw fewer unrecognized songs in it seems.

It was also from a time when studio time was precious for musicians and this was something that wasn't really taboo; it was safe to do because there were few known incidents where people threatened legal action over releasing covers. Nobody really got hurt at the time, and usually the original artists held the rights in case they did have a problem with it. A more lax rights stance was more rarely abused, from what I understand.

Furthermore, physical releases were the only way to get music out anyway. If Bowie had had YouTube or Bandcamp at his disposal and was a desk musician, I feel as though he would have released a more faithful album to his original idea AND released it entirely for free digital download, MAYBE with a limited physical release where he could sell them for basically face value plus shipping.

Recording was expensive, promoting was expensive and difficult, and goodness, RELEASING the product was a whole other issue entirely. I'd expect someone to charge for that, given that it was the only medium. These days, it's so optional that cases of it being necessitated for release have almost completely disappeared. So yes, I think that even an album like that, if released today, would be more appropriately released for free with a limited couple-dollar physical print.
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#101039 brodan

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Posted 15 August 2016 - 08:14 AM

I also don't look down on people who do make money off of their music, but I don't really get it and hope that one day it kinda goes away. It seems like a relic of when cutting and distributing an album took a small fortune.

 

i disagree with the last part of this. I think being a musician should be a viable career option, granted that you ARE good at it and put effort into improving upon your skills just like any other professional does in any field. these two posts really opened my eyes about touring as a career option:

i'm not a huge fan of TAIM but read this:
http://www.metalinje...ke-this-anymore

 

and then read the response to it: 

http://www.metalsuck...l-band-manager/


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#101040 Robby V

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Posted 15 August 2016 - 10:05 AM

I read that article, and unless that band tours every other month and manages to sell $2k per stop (which seems unlikely if you're on tour every other month) I wouldn't call that much of a career. You'd be making chump change, but I guess that doesn't matter because most (not all) of the people I know that tour often are either rich kids or are on the fast track to making this their biography:
http://www.metalsuck...ientific-proof/

I guess I'm just too utilitarian, but as a musician with what I would say is an exceptionally kickass band, I don't see too much value in music in terms of a commodity. That doesn't mean that it doesn't have sentimental or emotional value. Going to a show, recommending bands, and being part of a scene seems like fair compensation for the effort someone puts into their music.

Furthermore, most professional musicians chug a butt. If being skilled had anything to do with anything, none of us would know the name of Asking Alexandria, and The Fucking Champs would be showered in cash and pussy.
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