Anonymous asked: seriously you are an amazing human being! thank you for being so passionate about music. I seriously more people like you should exist. thank you. music really is the best thing in life and it is often ruined by very commercial artist who only care about money, but I'm so glad to see that there still are people who genuinely care about music. thanks
I don’t think there is anything wrong with wanting to be commercial. Different things make different people tick. I’m pretty firm on my stance that Beethoven and Justin Bieber are on the same artistic level, at least in my opinion. To me, the art of marketing, writing a hit pop song, or composing a symphony are all equally as hard as one another.
Go ahead - try and get 100,000 Youtube subscribers writing cheesy songs about girls, or farting, or giraffes. Or maybe writing the world’s next memorable symphony. Anything really.
The fact is that it’s incredibly tough no matter how you slice it.
The ones who do it well have “something” going for them. I’ve learned to study what they do, appreciate it, and admire it.
I care about music much like most people do. The difference is that money doesn’t make me tick. Changing the world does. There’s nothing wrong with wanting money, but there has to be a balance, and there has to be a heart.
Everyone’s muse, lifestyle choices, careers, and thoughts are different, so who am I to judge that one is better than the other?
I actually care more about if the person is a good person more than anything else. Money only gets me the things that allow me to tackle my dreams. That’s always been what it’s about to me, but I wouldn’t look down upon someone who believed otherwise.
A Note About Pandora Royalties
Pandora has been getting a lot of flack for this artists’ post titled “My Song Got Played On Pandora 1 Million Times and All I Got Was $16.89, Less Than What I Make From a Single T-Shirt Sale!”. I disagree with that post, here’s why:
1.) You shouldn’t be mad at Pandora, you should be mad at Congress’ tiered unleveled playing field for treating internet radio royalties differently than legacy AM/FM radio. Pandora can barely swim above water because their royalties are over their heads. Sure, they’re a publicly traded company, so maybe they’re being dramatic about it, but that doesn’t make the double-standard law any better.
2.) Pandora is most likely helping sell those $17 t shirts
As I mentioned last month, the old business model allowed you to only make $1 off of a song per person. And that was it: $1, sale is done, no more money. No viral sharing, no playlists, sandboxed, no charts, nothing. Now that an artist can average $16.89 per year per song - that’s incredible!
The difference is that the old model consisted of releasing 3 CDs over a lifetime to a million fans, whereas today’s model consists of releasing 30 CDs over a lifetime to a few thousand fans.
Not only that, but Spotify has actually increased paid downloads, so I can assume that
1.) Pandora’s royalties over a lifetime amount to greater income than retail sales
2.) Pandora actually increases retail sales, too
3.) Pandora, like AM/FM radio, increases ticket and merchandise sales (exposure)
So I have no problem with Pandora’s current royalty payments. I also agree with their recent loophole purchase of an AM/FM station. (I don’t have music on Pandora simply because their odd submission rules, but oh well).
Granted, Pandora and Spotify (and Apple Radio, etc.) follow slightly different technicalities in royalty payments, but they’re similar enough to draw the comparison. I pay out royalties to the songwriters whose music I cover, and the musicians and publishers of each respective song will receive that split for eternity - and trust me, they’re all very happy.
Similarly, when looking at the Youtube model, some publishers want synch license fees so people can upload their cover songs to Youtube, then they also want to claim the streaming royalties. But they’re missing the point. They should forget the upfront fee and make it easier to upload music, then use Youtube’s Content ID so they can make royalties on every stream. The royalties over a lifetime eclipse any synch fee. Plus, it’s trillions of half-penny transactions versus 10’s of large transactions - as a Youtube partner, I can tell you that the former eclipses the latter. And guess what? Youtube increases iTunes sales.
So welcome to the new model, nothing like the old model. It’s much better.
Your Money Update
As I mentioned last week I want to publish a monthly accounting update so everyone knows where their money goes to. That’ll all be itemized in my next post.
I paid royalties to all the Homestuck musicians and many more this week. One thing I liked is that Sinister Psyche AKA Kezinox (the composer of Homestuck ‘Fuchsia Ruler’) told me it helped him get a mishka watch he wanted:
That was cool to know, so I wanted to pass that on to you. Feels awesome to help out other musicians for their incredible music.
My Music Sales Income The Past 3 Years
Last year I published my finances so it helped other musicians, artists, and showed a level of transparency I wish most businesses had.
Anyway, I’ve been doing this idea for about 6 years, and the first 3 years were awful. In the first 3 years, 2007-2009, I made about $2,000 in total: In 2007 I made about $200. In 2008 I made $500. In 2009 I made about $1,000.
There have been other things I’ve done to survive, like write music for people on the side, collect unemployment when I was laid off, worked as a music instructor, cashed in my baby bonds, and made music tutorials on Youtube. Although the pay wasn’t much, it was just enough to get by so I didn’t lose sight of this ‘ForOrchestra’ goal. So now onto the past 3 years of my music sales:
July 2010 to July 2011 I made $4,766.64 of music sales
July 2011 to July 2012 I made $9,232.80 of music sales
July 2012 to December 2012 I made $11,862.88 of music sales
So it’s safe to say I’ve seen a 100% growth year over year. In that last picture above you’ll notice that I made more money in the last 6 months than I did in all of the previous year. Since I’m on track to make $22,000 this year, for the first time in my life I’m finally above the poverty threshold (which for individuals is $14,800).
Those stats are my gross income, so I still have to pay out royalties, taxes, etc. But still, that’s insane, and I can’t believe this. I actually feel like crying. Anyway, there are a number of reasons that explain why I’ve grown:
1.) My music sounds better every week
2.) The arrangements themselves are much more mature
3.) I understand the music catalogue, trends, and demographics much better
4.) I’m more focused than ever before
5.) I’m becoming more transparent and creating more rapport with my community
6.) Unlike the first 4 years, I no longer need a job to support myself - so I’m spending more time on writing music as opposed to having a side-job
7.) Update: as Vexarian mentioned: there’s a 7th point you missed, which is that over time your community grows by default the longer you stick with it (thanks for mentioning that. Yep -that’s true!)
In my tips tag I always say that being patient is the #1 thing. If I gave up on year 4, then I would have never known if this idea could work. I also talk about the importance of being on a schedule. It doesn’t have to be a weekly song schedule, it could be something like a tour schedule, or a merchandise schedule, or whatever. The important thing is to stay on point.
So to answer a few pre-determined questions:
Yes, it sucked every Thanksgiving for half a decade saying to my relatives “My music is going to work out, trust me.”
Yes, it sucked being $15,000 in debt a few years ago.
Yes, it sucked when my hands went numb from pinched nerves and over-working.
Yes, it sucked working weekends and 16 hour days.
Yes, it sucked having a failed Kickstarter at a time when this idea needed it most.
Yes it sucked at times not having a car, health insurance, a haircut, a house, or a steady paycheck.
Yes it sucked when I ate turkey gravy straight from the can because I had no money to buy food.
Yes, it sucked to break up with someone special because you were trying to make ends meet.
Yes, it all sucked. Everything. It sucked to the point of almost breaking down. And then something funny happens after a few years. Something magical. A tipping point sort of experience. And you think. You just think. You stop and realize for the first time you’re able to make ends meet. You start thinking that since you now have disposable income you can start making merchandise this week and other higher-margined items as opposed to a song that pays 40 cents. You even start thinking about how your own story probably isn’t much different than others you read about over the years.
You start getting excited at the idea of hiring real artists to make beautiful cover art as opposed to the ones you’ve been struggling to make in your room. You start thinking that you’re following your heart. You start thinking that all those days people said “don’t give up”, that they weren’t just words, at this very moment it was turning into advice from experience.
You start realizing the importance of how none of this would be possible without a community who kept you up when you were falling. Every comment, every share, every purchase - they were all like these little silent whispers saying “Keep going, we believe in what you’re doing for new orchestra music. You can’t stop now”.
So I want to say thanks. I’m so glad you enjoy my work and that this idea is creating a glimmer of hope in the orchestral repertoire.
To sum up this post, I want to say to other artisans - you have to keep on going. Your DeviantArt drawings, music, or unpublished books are meant to be read and experienced, and it’s more DIY-accessible today than it’s ever been in history. In fact, a lot of the ideas for my music are the result from all the amazing things I see online and offline each day. Art is a melting pot, so you need to create great work so we can all add to the brew kettle. Some people need to drink from it whereas others just want to watch it and experience it. But the point is that the kettle needs to keep being added to, or it will die. Every single thing you see in this world is here because someone brought something in their brain to life.
Fluency, mastery, learning, and overcoming obstacles take decades - so you can’t give up. You have to keep on going.
katzmatt asked: why dont you accept donations for getting licences for songs, IE i could pay you like 5 dollars to cover the licences for the bond songs , because i would totally do that if you wanted
Well it would be $2.03 per sale. So $100 in donations would cover ~45 sales (remember, 23 songs at 9.1 cents each is $2.03 in royalties per song). If I did all 23 James Bond intros into one song then I would have to sell each single for $3 just to make up the difference (Bandcamp would allow this tiered pricing, but iTunes doesn’t allow $3 singles.). Plus I’d imagine not too many people would buy a $3 song, which further reduces the finances of arranging it.
On the other hand, if I only got $100 in donations and the song somewhow went gangbusters and sold 1,000 copies, then I’d have to make up the difference 1.) out of my own pocket 2.) hoping for more donations. Hope is deadly, I don’t base any decisions in my life based on hope. I need things to be concrete before I do anything - like I said last week, being poor sucks but being debt was the absolute worst.
One option would be to raise $1,000 to cover royalties for a limited edition download for $3, capped at ~480 downloads. That could work because since I would owe $2 per single, I would never have to worry about selling more songs than the donations covered.
As for donations to me, the link is fororchestra.com/donate. I never promote it though because it feels spammy to me.