PS Audio Music Server In The Pipeline?

My impression is Bandcamp is indeed better for the artists.

If more thought like you and cared, artists could make a reasonable living.


Support the artists to the best of your ability. These are trying times for them. Not that pre-corona the average local or regional musician was raking in the do-re-mi. BandCamp is a fine way to do it, as is purchasing directly from them and attending their live performances.
In this case I am not talking about reissues of performers long gone, or mega-hit wonders, (@#$%filintheblank) but those struggling to make a measly living off their art.

At the risk of sounding like I am virtue signaling (I am not), I have purchased more music (CDs and SACDs) in the last three years than in the previous ten. Roon lifetime subscription (exposure to more music through Tidal and Qobuz), PS Audio equipment (better DAC [DSD Sr.] and better disc spinner [DMP]), this forum (exposure to more music through member recommendations and commentary) and Octave Records (the opportunity to support contemporary artists) have driven my purchases.

If my increased interest in enjoying and purchasing recorded music is helping some artists, so be it. Ideally, that’s how the bargain is supposed to be made. (Here is a little virtue signaling: If I discover a recording or new artist on Roon or from recommendations here and consider it a new favorite worthy of my music library, I try to make a point of buying a physical copy of the record (CDs and SACDs) if it is available.)



I agree that Bandcamp type channels are the best way for musicians to make money, as they can cut out labels, producers and take up to 90% of revenue. However …

No musician deserves to make a living from selling music. There are simply too many for the listening public to sustain. The vast majority are very good without being exceptional or having a particular selling point.

Before record labels, music publishers used to make most of the profits, going back at least to the middle of the 17th century.

Most musicians have had a day job. It may be working in Starbucks. Plenty of well-known classical performers rely on earnings from academic jobs and teaching.

Audiophiles could be accused of being the worst culprits, given how much some of them spend on audio equipment that could otherwise be spent on live performance.

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Yeah, spot on about it being hard to make a living making music. That is why I wrote, “make some dough”, not “make a living”. My great-great grandfather was a French horn player in Germany. But his side job to feed the family was as a piano tuner. Compared with today, lots of people had pianos at home in need of tuning. My great grandfather was a NY Philharmonic French horn player. His side job was playing for the then upcoming film studios’ orchestras (e.g., NBC). His brother was also in the philharmonic. He taught at Berklee in Boston for additional income. My grandfather followed his father and grandfather as French horn player. His side job was as a tax accountant. My Dad and I went downhill further into finance ever since. But maybe in retirement I can take up childhood piano (from my mother’s family) again.




Yeah, that puzzled me as well.

Just look back over history. The performers that do are often the very few with extraordinary talent and good marketing. Songwriters and composers have better chances of earnings because of how the royalty system works.

Did we need a handful of recordings of the Schoenberg Violin Concerto in the last two years alone? What is wrong with being an amateur or semi-professional musician with a day job? Even Chet Baker had to pump gas mid-career.

My comment was in response to Bandcamp and the like, which at least gives any performer a chance to release music to the public and get most of the proceeds, but how many make a living from it? Very few, I suspect.

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Will there be any beta streamers available for us ?

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Everybody deserves to make a living doing what they are skilled at and enjoy. Saying that they dont is horribly disrespectful at the least.


Thank you for making your decent statement.


I’ll just assume it is a bad choice of words; deserves really/ The musicians I have been around don’t feel they deserve a thing. They play from the heart and mind to our benefit. It pleases me to no end to support them in the few ways I can. I am in awe of their talent.

Many supplement their income as educators, engineers, accountants, and yes as baristas.
I prefer to share my meager privilege with those who I appreciate, and that appreciate it in return.



So did my wife, who had dedicated herself on a daily basis from the age of 11 and had scholarships to top dance schools, deserve a living as a ballet dancer? Thankfully she worked that one out fairly quickly. There are far more people with skill and talent than there are paying audiences to feed them. I’m sure we all know people who have aspired to be professional musicians and achieved it to a greater or lesser degree, and often have to give up and make a living doing something else.

It’s called the music business because it’s a business. There are winners and losers and from what I’ve seen it’s not all to do with musical talent, and it’s been like that for centuries.

What about buskers and street musicians? Do they deserve a living? I came across an acrobat, incredibly skilled with years of training, who put up his act on the streets and made a meagre cash living, something now hit by the fact that few people have any cash. It transpires there are street performance festivals around the world for which performers are hired, all expenses paid, to perform. They don’t just turn up hoping for a gig. That is how the acrobat made most of his earnings.

So with streaming artists have dramatically reduced media royalties from subscription platforms, but have access to the market via platforms like Bandcamp without needing to get a recording contract. There’s good and bad and it seems to change constantly.

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Literally speaking, I agree with your general premise.

My wife and I probably support artists more than the average here. Before Covid, between us, we probably bought at least 300 tickets annually to live shows. We did our best during Covid, not asking for refunds on many of about 100+ pre-booked tickets, giving donations to certain venues, and after hard lockdown we went to Covid-safe events including several fundraisers for Artists’ Benevolent Funds. Covid shone a light on how precarious it is to be a performer and how differently they are treated in different countries. My wife is particularly aware how hard it is, having come from one of the hardest artistic professions to make a living.

No one doubts that many performers put their heart and soul into it, irrespective of what they get financially, and it probably isn’t very fair. For hundreds of years the claque system operated, which was often outright extortion.

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Besides different arguments, which all may be true or false to a degree, I think some arguments are usually unspoken for reasons of social competence, humanity, empathy or respect, even if they have some validity. When they are spoken, us humans have to switch levels to see them on a purely analytical basis :wink:

I remember about 20 years ago chatting with a business colleague, a lawyer, about his son, who was about to graduate from Cambridge. We had a common interest having all gone to the same school. My colleague was bemoaning that his son wanted to become a classical music conductor, which I think he thought was a terrible idea. I suspect he wanted him to become a lawyer. Play it safe. Fortunately it went well and his is perhaps the leading conductor in the world of his age. It’s nice when it works out, but I suspect for most the reality is a lot harder.

If you are implying it is hard, and unfair, and people really suffer for their art, then I would agree. But the last thing I would do is disrespect anyone for what they do.

Seems from your heritage you are most in a position to aid the arts. A good thing.

We are just one of the little people. We are members of loads of arts bodies (the $100 type of memberships to get emails, magazines and early bookings). They all asked for donations and the response from the general public was generally overwhelmingly good.

We supported some of the ballet fundraisers because my wife knows from experience the dedication needed and physical pain suffered, usually for little if any financial reward.

Covid was fascinating because it made artists realise how much they needed an audience, never mind the money. It’s like a drug. We mainly went to a restaurant venue that was Covid-limited to 35 paying customers. It became a bit of a club. They had to charge $130 per head to make it pay, which included dinner and often music till 1 or 2 in the morning. They opened with Steven Isserlis, probably the world’s leading cellist, and even when there were relative unknowns playing, they all got the same fee.