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Comment Re:Well... it's google (Score 0) 64

They also don't seem to understand that if you run a streaming service, you need to curate your catalog, and listen when your users report errors. There are countless cases of artists with identical or even just similar names being lumped together, despite being wildly different. I have reported dozens of these cases over the last couple of years, but none of them have been fixed.

Compare this to Spotify, who generally fix these types of errors within a week or two after receiving an error report.

Comment Re:the new age (Score 1) 110

I think the main issue is that people think you can simply put out a popular album, and then sit back and live off the royalties. That only works when the distribution channels are tightly controlled. And it mostly pads the pockets of the big record labels, not the musicians.

Want to get exposure and make money? Get out there and play some damn shows! Interact with your fans, sell merchandise, make connections!

If you want to be a studio-only musician, that's fine. But don't expect to get rich doing it.

We're also seeing a new wave of bands (and other artists) turning to Patreon and similar setups. I know some people simply write it off as pure greed, but if you look at it like a variable-payment fanclub, it makes a lot of sense. And all of the money goes directly to the artists, the way it should be.

Comment Re:the new age (Score 1) 110

The task of marketing is more on the musicians now. You have to get out there, play small venues, interact with blogs and your fans on social media.

I know a small local death metal band, though one of my friends. They started in late 2015, and have played at least 30 concerts in 2016, in Denmark alone. No big tours, just whichever venues they could get in touch with. They're out there, working their asses off, interacting with people, getting their name out there.

And now they've been booked for Roskilde Festival and Copenhell (biggest metal festival in the country) this summer. All based on one EP and a hardcore touring schedule. If they can keep up the momentum, they're destined for success.

Comment Re:I don't want to see more of what I want to see. (Score 1) 97

Why is it important to you to classify a difference between how much you like/dislike it? Isn't it enough to see your rating and then remember for yourself why you gave it that rating?

I tried rating my music library, first with a 5 star scale, then a 4 star and a 3 star scale. In all cases, I spent more time fussing about ratings, than I did about the actual music.

So I actually ended up going with the simplest solution of just marking my favorites and leaving the rest well enough alone. Now I'm on Spotify, where I mark my favorites for inclusion in "my music" and just ignore the rest.

Comment Re:Nothing like fudging the number (Score 1) 97

You've marked me as a foe, but I definitely agree with you on this.

Unless you account for the total number of ratings, a title with three 5-star ratings (5.0 average) will rank higher than a title with ninetyfive 5-star ratings and five 3-star ratings (4.9 average), and that's obviously an issue.

I think moving to a thumbs up/down system will be good. Personally, I don't really care about rating stuff in detail, I just want to mark whether I liked it or disliked it.

Comment Re:I don't want to see more of what I want to see. (Score 1) 97

That's exactly the issue. My interpretation of 5 stars goes like:

1 Star - Shit
2 Stars - Bad, but with some minor redeeming features
3 Stars - Mediocre, nothing special, OK if in a certain mood
4 Stars - Good, solid, not groundbreaking, but good
5 Stars - Amazing, great, top of the heap

You see that our interpretations vary. We don't assign the same value to the ratings, which is a problem is a shared rating system. One persons "eh, it's OK" is another person's "would never watch again".

With a binary system, it becomes a lot easier to compare and combine ratings. Did you like it or did you dislike it?

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