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Great observation, the situation is not improved or stayed the same:  it's become a whole different ballgame.

For example I'm in the process of writing method/instruction books for the Chapman Stick which will come with a ...CD (how did you guess?:))  and later even with DVD.   In those i will also include my own compositions.

So that way I can sell my original music and deliver a service that the client(which is often a stickplayer) can use to ..play along with my tunes, since I'll analyse it very well in the book. I might even include Kareoke  versions:))
So I'm making a CD with added value (extra method book)
So it looks like a Method Book with a bonus CD, but it's a CD with a Bonus Book!

(This all starts to sound like a salespitch, I apologise for this:))

So it almost looks as I'm using my books to sell CDs.....well, if they try to sell i-pods by making no money on the i-tunes, then I surely can borrow that system.

These were just some thoughts at 2h41 in the morning. 

Good night,

Ron B

Rainer Thelonius Balthasar Straschill <rs@moinlabs.de> wrote:
> they do spend lots of money on tickets for festivals & concerts.

Now at last there's something positive (from the musicians' point of view)
in this thread: while the "felt value" of a CD has decreased for the buying
public (and thus their urge to buy one), with it comes a grown appreciation
of live music. Perhaps this has to do with the availability of powerful
audio software (in combination with CD recorders) which allows any
playroom-based wannabe to shell out their own CDs - consumers simply respect
recorded music less, but on the other hand are willing to spend more on
seeing artists actually perform music (or are willing to listen to live
music at all).

So for us non-signed artists, it's back to make money from performing (just
the way it was before the advent of CD recording technology at your


ps: to avoid any confusion, with the statement above I do not want to show
that the situation for artists has improved or even stayed the same. It's
just some observation, mainly from the consumer's point of view.

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