Reznor Grosses $1.6 Million In The First Week Of Ghosts I-IV

from the nope,-no-way-for-musicians-to-make-money-at-all dept

Last week, we noted that Trent Reznor's latest experiment with business models had resulted in selling out the exclusive deluxe edition of his latest Nine Inch Nails offering, grossing $750,000. That, of course, didn't include any of the lower level sales. Reznor has now released the news that in the first week alone, the project has grossed $1.6 million in revenue, despite the fact that the music was widely available for free download (some of that helped along by Reznor himself). How long until someone says that there's no way to make money giving away music again?

Filed Under: business models, music, nine inch nails, trent reznor

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  1. identicon
    Overcast, 14 Mar 2008 @ 9:40am

    In the majority of situations different people and groups function as author, composer, arranger, producer, and performer. How the hell do those people get paid?

    Well - yeah, that's because talent is 'corporatized' for profits. It used to be - artists did pretty much all of the music creation themselves, now it takes a staff of 500 to do that? I'm curious how Bach ever made it without a large support staff!!

    Only once they get in the 'association' does there seem to be a need for this. I can't see why, with today's technology that *real* good talent would need much more than a PC, Mixer, and Internet connection to produce and distribute music.

    I mean - any person who made a livelihood at manufacturing vinyl records is out of a job now - but is that a bad thing?

    I don't see the RIAA or anyone else complaining about how small record stores are disappearing because places like Best Buy and Wal-Mart are selling most of the CD's now either.

    The whole 'industry' thing with music was a means of 'production line' music, really. It wasn't about the music anymore, but how fast CD's could roll off the line - with tracks strategically put together to simply sell the CD. Regardless of one's opinion of that, it seems music has came 'full circle' and it's going back to the hands of the actual artist now - as the industry isn't really needed now, at least in the same capacity. If it's willing to adapt it will survive, if not, it will fail.

    I think that's called survival of the fittest.

    If I chose to - I could put all my digital music on a computer cluster with RAID 6 arrays, backing up nightly. That would most easily outlast a CD by a decade - then it could be simply copied to a new server. Even a plain bottom of the line PC is far more robust and dependable than a CD.

    The industry is trying to make consumers stick with the old way of doing things, when a far better method is widely available, one that - lasts longer, is easier to use, gives the consumer a better and more personalized choice, quicker with media selections, has much more capacity, better quality if encoded right, doesn't require physical CD swapping to listen to a different group, is more versatile, and could offer FAR more music per dollar spent than a CD with one good track... and on and on.

    Name one single thing a regular Audio CD has over all that?

    In spite of the 'hype' - radio has been THE major driving force in selling music for many, many years - if not since the inception of the 'music industry'. Actually, it's almost safe to say radio gave the Music Industry the spark it needed to even exist, without it no real advertising could have been done.

    And in all of that - in the consumer's point of view, to a degree - radio is free.

    What industry could possibly survive without adapting to the times and new technology I think the RIAA and the rest of the music industry stands to make some serious profit, if they can offer some value to their service. Look at Google - after all, how much does it cost to do a Google search? :)

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