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ivan@stellysee.de
| From | "Scott" <scott@nicevacations.com> |
| Subject | E-music and Parasol |
| Date | Sun, 27 Mar 2005 09:15:17 -0500 |
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>> Hey, Michael Roux, I've often wondered: how does the money an artist
>> earns
>> from an eMusic download compare to standard brick-and-mortar royalties?
>
> Dollar for dollar it is less. However, I've always felt that most of the
> Parasol money that was earned via EMusic was money that would not have
> been
> earned otherwise (this was especially the case when EMusic was trying to
> make its model work during the explosive growth of free downloading) so
> that
> balances it out. EMusic seems to have a devoted subscriber base that is
> willing to try new music and Parasol artists have benefited from that.
I'm glad to hear this. E-music is my preferred electronic music source. My
"basic" subscription seems to be the right price point for the product
(inferior to real CDs, but cheaper, too; superior to heavily rights managed
things like iTunes, Napster, etc... and at a better price). It's a bonus
that I've found a good amount of music I like.
Despite being somewhat of a technophile, I never was into file-sharing for
two reasons: it was illegal and it seemed like a welcome mat for hackers. If
I found something I wanted to turn people on to, I did it the new
old-fashioned way, mix CDs and big props on message boards.
The electronic music business model must be real shaky, and I sometimes
wonder if any online retailer is making money. I would be satisfied to see
E-music become kind of the electronic "re-issue" place. Like, once a CD has
run its course in the off-line market or at iTunes, it would then become
part of the catalog at emusic. It would be up to labels to decide the point
at which to do that. Of course, I know nothing about the deals made with
various online entities. Perhaps they preclude this kind of arrangement.
Scott
NP: New Pornographers "From Blown Speakers"
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