Thanks for a great reply. I totally see the need for recording engineers (live and mechanical) and related jobs.
Can you compare the industry now to 10 years ago. What jobs have disappeared? The music press seems much less relevant. Does the A&R executive still exist? Etc.
I’m actually just now coming up on my tenth year in the biz, and most of my experience is with indie venues and artists — my perspective on these very good questions is somewhat limited!
On the marketing side, it seems to involve a lot of social media and local publications rather than the traditional music press, as you point out.
I’m sure A&R execs still do their thing with the big labels, but there also seem to be a shitload of small booking agencies/management groups that handle a lot of the organization and business end for national-level indie artists. It seems that a lot of folks in those organizations are doing actual work and not just sitting back collecting a fat executive bonus.
As far as jobs disappearing, my bet is on the assistants and other staff with indirect roles that maybe aren’t as involved since technology has allowed more folks to work from home. I’m thinking along the lines of people eschewing large studio spaces for home studios, since a lot of mixing and mastering can be done “in the box” on a computer with a good set of monitors and a decently-treated room.
I imagine the same would go for some of the distribution and licensing side, since instead of depending on a major label or hiring a person to mail out CDs to a bunch of radio stations and such, you can just use an online service like CDBaby to get your tracks submitted to multiple streamers at once and keep track of royalties without needing a dedicated accountant.
Again, take all this with a grain of salt, since my experience is still somewhat narrow! And also, I don’t intend anything I’ve said as a defense of do-nothing execs sitting back and amassing wealth at the expense of us regular folks on the ground. It’s just that in my experience, most of the non-artist people involved with the entertainment biz do actually provide value to the artist and fans.
In my head the fat do-nothing execs are the ones sitting on back catalogues of one sided record deals.
With the democratisation of music production we should be awash with a variety of new music, but the same old artists are still being pushed onto the public. What needs to change?
Thanks for a great reply. I totally see the need for recording engineers (live and mechanical) and related jobs.
Can you compare the industry now to 10 years ago. What jobs have disappeared? The music press seems much less relevant. Does the A&R executive still exist? Etc.
I’m actually just now coming up on my tenth year in the biz, and most of my experience is with indie venues and artists — my perspective on these very good questions is somewhat limited!
On the marketing side, it seems to involve a lot of social media and local publications rather than the traditional music press, as you point out.
I’m sure A&R execs still do their thing with the big labels, but there also seem to be a shitload of small booking agencies/management groups that handle a lot of the organization and business end for national-level indie artists. It seems that a lot of folks in those organizations are doing actual work and not just sitting back collecting a fat executive bonus.
As far as jobs disappearing, my bet is on the assistants and other staff with indirect roles that maybe aren’t as involved since technology has allowed more folks to work from home. I’m thinking along the lines of people eschewing large studio spaces for home studios, since a lot of mixing and mastering can be done “in the box” on a computer with a good set of monitors and a decently-treated room.
I imagine the same would go for some of the distribution and licensing side, since instead of depending on a major label or hiring a person to mail out CDs to a bunch of radio stations and such, you can just use an online service like CDBaby to get your tracks submitted to multiple streamers at once and keep track of royalties without needing a dedicated accountant.
Again, take all this with a grain of salt, since my experience is still somewhat narrow! And also, I don’t intend anything I’ve said as a defense of do-nothing execs sitting back and amassing wealth at the expense of us regular folks on the ground. It’s just that in my experience, most of the non-artist people involved with the entertainment biz do actually provide value to the artist and fans.
Thanks for the insights.
In my head the fat do-nothing execs are the ones sitting on back catalogues of one sided record deals.
With the democratisation of music production we should be awash with a variety of new music, but the same old artists are still being pushed onto the public. What needs to change?