“All of my colleagues — composers and arrangers — are seeing huge cuts in their earnings,” says Paul Chihara, a veteran composer who until recently headed UCLA’s film-music program. “In effect, we’re not getting royalties. It’s almost amusing some of the royalty checks I get.” One of the last checks he got was for $29. “And it bounced.”
Scott Timberg writes about how the recent rise of streaming services like Spotify, Rdio or Pandora affects royalties in the world of niche music. It’s sad, but not unexpected. However, at least in Europe a jazz/classical music enthusiast observes a growing number of websites that sell uncompressed audio files from small labels. There’s the German Highresaudio and the Norwegian Gubemusic, and both these services have a pretty big catalogue (at least compared to the American HDTracks).1 They are also both targeting the narrow group of listeners, and their catalogues contain mostly jazz and classical music. Which brings us to the second quote from the article:
Here’s a good place to start: Say you’re looking for a bedrock recording, the Beethoven Piano Concertos, with titan Maurizio Pollini on piano. Who is the “artist” for this one? Is it the Berlin Philharmonic, or Claudio Abbado, who conducts them? Is it Pollini? Or is it Beethoven himself? If you can see the entire record jacket, you can see who the recording includes. Otherwise, you could find yourself guessing.
My question is: why hasn’t anyone figured this out yet? It’s an at-least-decent business idea, and there’s a consumer group that can be easily targeted. Jazz fans complain about Spotify’s lack of content all the time. They also tend to be affluent (or pose as such, or are willing to spend more money on music), so you can charge them more. And they’re often suffering from audiophiliac illness.
Create an elite, expensive streaming service for jazz and classical lovers. Take our money!