What The Music Industry Can Learn From The Real Estate Industry

As I was viewing the news a day or two ago, a story went ahead about the soaring number of dispossessions that are occurring the country over. There was a meeting with a couple who accused their circumstance for their bonus hungry specialist who sold them a house for which they were not qualified, their corrupt agent who “inventively” organized a credit that they couldn’t bear to make installments on, and their ignorant companions for offering them awful guidance. They fundamentally accused everybody – except themselves. https://prism.fm/

It made me consider what the music business can gain from the land business and the equals between the two.

Like the land business, the music business is a rate based business. Both have their own recondite language and both depend on a cast of spinning characters who assume an assortment of jobs. Both are relationship driven

How Do You Get Into The Music Industry? - Musicians Institute ...

. Both are administration arranged in nature. Both flourish with derivations and concealed costs that effect cost and benefits. What’s more, clearly, both have good and bad times.

Yet, there is one significant distinction: In land, nothing occurs without financing.

In the land business, when you are not kidding about purchasing a house, the initial step is to discover a moneylender who will make sure about the credit for you all together make your buy. Some time ago when music specialists used to pine for record bargains, they did so in light of the fact that getting a record bargain was interchangeable with acquiring financing.

The main motivation behind that financing was to fulfill creation and promoting costs. With the approach of the Internet and the subsequent autonomous development (which has been erroneously elevated as the response to the supposed harsh strategic approaches of record organizations), numerous specialists will never get the sort of presentation that their forerunners have appreciated just in light of the fact that they won’t have the budgetary way to do as such.

To put it plainly, there is not, at this point an undeniable and promptly accessible wellspring of subsidizing for music specialists. Record organizations generally filled this need, yet that is starting to change as craftsmen look for, and discover, elective wellsprings of financing (for example Madonna and her worthwhile 120 million dollar manage Live Nation) outside of the music business. Genius craftsmen that is.

Beside the money related issues, the fundamental issues with music – and the music business – are worth, observation and pertinence.

In land, the mantra is: Build it and they will come – with financing to buy it in light of the fact that at long last it’s not so much a buy; it’s a sound venture that will yield future profits (as a rule). The equivalent can’t be said for CDs which (by open agreement) just have two great melodies out of 10 or 15. That is known as a terrible investment…and a decent business open door for iTunes. At this point we as a whole know iTunes isn’t generally about the lawful buying of music, it’s about the selling of iPods, and for individuals 15 – 25 (still the objective age crowd for the music business) the observation is that music ought to be free. That is with or without an iPod.

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