Years ago: If I were to sit you down and play you a sample of a wonderful song I made, turn to you and ask, “So you like my song, how much would you pay me to have the ability to listen to this song as much as you wanted?” The answer would probably be a good sum, as that seems like a pretty good deal: unlimited listening, and a sense of ownership on that song.

This used to be the case, until one day, something happened.

After someone sat down and payed that fee for the work, he went up to other people and offered it to them for free. He’s just a nice guy like that. He wanted to share this amazing song with everyone, because it was just that special to him. But don’t be mistaken, he bought it, and will most likely continue to buy everything by me as well.

Now given the option of paying me for my music, or having the ability to have all the benefits that he did for free, most people in this situation will likely take the second option, its just human nature.

Why this happens is also due to the fact that they’re dealing with a second-party for their access. This makes them feel detached, and doesn’t give that same feeling of guilt that it directly would, to not directly support that artist. This does lack the sense of ownership that would arise from the direct transaction.

This isn’t all terrible, however. With that second party, it’s become easier to reach more people. People I, as an artist, may never have had the ability to share my music with.

This also opens up the possibility of them coming back to me to pay me directly for my music. This is reflected on what that person thinks my music is worth to them.

Are they willing to seek me out to give me my due?
Now that they have the work, do they feel the need to pay for it, after maybe a trial period?
Are there alternative methods of making money for my work, that maybe aren’t a result of a direct sale?

These are questions that have arisen in the Music Industry, because music piracy is far too prevalent to get rid of.

The metaphorical story at the beginning of this post is only really scraping the surface.

We have to factor in the fact that, in most cases, I’m not sitting down directly with the fan, and this is where it got/gets very complicated.

Imagine we’re back in that metaphorical scene: you sampled the song, or heard it somewhere, and wanted to come pay me for it.

Well it’s not that easy.

You can’t just come to my house and buy it from me, you have to go to a huge building and meet with a bunch of lawyers and people in suits in a room, and give them your money. They then take a lion’s share of that money, put it in their pockets, take out some of the change, and throw it in a pile named “Artist”.

This once again turns into a second-party transaction, and you see most of your money go towards someone who had nothing to do with the actually music, except for “loaning” me [the artist] money to record in their facilities, and put some posters up. [Excuse the bitter brevity.]

This doesn’t make you, the hopeful supporter, feel any more attached than getting it from your friend for free.

At this point, the free option doesn’t make you feel as guilty, so you take advantage of it.

It’s also when many reached this point, the complete devaluation of music, that things started changing for the better.

Let’s look at Radiohead’s In Rainbows. They left EMI and self-funded and produced the album, under their terms, and under their name. No big record producer, no label A&R guy popping in with his opinions. This was their work.

So naturally, they felt they should release it on their own as well.

They put the album up on their website, with the ability to “Pay What You Want”.

This also included the ability to pay nothing. However, according to the band’s co-manager, most fans decided that that music was worth something to them, and payed their hard earned cash to not only have access to that music, but a sense of ownership, and a feeling that they are supporting the band.

Direct-to-fan relations are quick becoming the new popular way of getting your message across. People have always felt attached to the music, but these relationships allow the fan to feel attached to the artist as well.

It’s been said that all it takes is 1000 True Fans. That means people that will buy anything you sell. They just want to see you succeed. To them it’s not just the music, it’s the musician(s), the feeling of being part of a unique group.

To them the music is priceless.

Yet, to others that music has no value. The people who payed nothing in Radiohead’s experiment (barring that they didn’t have the money to spend in the first place) were in essence saying, “This music is worth nothing to me.” Harsh words, but in this society, monetary value carries much weight on perceived value as well.

Perhaps these people planned on supporting the band in other ways: seeing them live, buying a t-shirt. Perhaps these people wanted to sample the album first, lest they be one of the many who’s been disappointed with a lack-luster album purchase.

It is with these questions, these people, this state of the industry, that we must ask,

What is music worth?

Should we have the option of paying what we want at the checkout?
Who’s to decide what we pay for the music we buy?
How are we to be guaranteed the money goes to the artist?

Everyone’s trying to see what the next “working model” will be.

Digital downloads have not, and most likely will not be able to gain back all the revenue lost in CD sales. This is most likely due to people cherry-picking out the hit songs, while leaving the fluff. And should that not be their right? No one wants a bad song.

So we need an answer.

How can value be put back into music?

We’ve been spoiled, having access to seemingly infinite musical choices at the tips of our fingers. It’s been a great time for music, and I think that needs to be recognized as well.

But, an artist’s music, if good enough, should be able to fund their life. Just like anyone else’s job.

If you do your job well, you deserve your due payments.

One thing that is changing is the amount of artists going to alternative labels, going independent, because they are fair to them.

Under these new labels, the artist can make enough, without having to worry about the guy upstairs taking the lion’s share.

Fan funded music is gaining steam, with several services allowing the ability to make donations towards the next album of an artist, effectively cutting out the major label loan process.

Auctions, direct donations: the list goes on.

The key is that there isn’t going to be an answer to all the problems.

There isn’t goes to be the “new model”.

It’s going to be a revolution of artist-fan relations.
It’s going to be musical entrepreneurs.
It’s going to be people finding value in music again.

It’s going to be ever changing.

So don’t wait for the new model to start working. Get out there and be a part of the evolving industry.

Fans, find a way to support your favourite bands.

Artists, don’t be afraid of trying something new, something unique, who knows, it might just work.

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