A CRITICAL REVIEW OF UK INDEPENDENT MUSIC BUSINESS AND HOW TO MAKE THEM VIABLE TO A US MARKET

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A CRITICAL REVIEW OF UK INDEPENDENT MUSIC BUSINESS AND HOW TO MAKE THEM VIABLE TO A US MARKET

CHAPTER ONE

INTRODUCTION

Background of the study

Independent music production has experienced resurgent creative output in the past decade, thanks to a globalized community of inspired practitioners, communities, and accessible technology. Migrating contemporary recording practices from commercial facilities to smaller, independent project studios supports the notion that music production occurs more and more in smaller artist communities—each group pooling their modest resources to meet the common goal of producing creative music. Furthermore, as this shared music, business, and technology-based capital steadily increases, independent artists can potentially transform into formidable small business owners.

The independent producer’s artistic and aesthetic preferences, inspired by personal choice, individuality, and intrinsic values, intersect with the music production already happening in bedroom studios with laptop computers and via Internet collaboration. As the independent producer’s evolving music production skills fuse with a renewed sense of community-based entrepreneurship, these factors illustrate compelling transformations in the music industry. That change suggests increased autonomy and possibilities for independent artists to produce high quality sound, function autonomously, and generate modest profits without major label support.

Indeed, music production software is readily available, and there exist a plethora of tutorials covering all aspects of recording, distribution, and promotion. Independent artists have more options than ever to create and distribute their ideas using forward-thinking business models and affordable technology. Moreover, these converging trends expose opportunities to look at the “how” and “why” of independent music production, and how those factors signal fluctuations in the global music economy.

Historically, independent music production has close associations with small labels, often loosely organized, and yet committed to engaging an attentive audience (Strachan 2004; Hesmondhalgh 1999). Burgess (2005, 31–32) indicates musicians with affordable equipment, aided by available resources and a willingness to learn, mature into independent producers with a clear approach to recording. Burgess’ (2005) argument that accessibility and persistence are driving forces in the rise of a self-sufficient “recording class” is an important point that rings true a decade later. On a broader scale, Sexton’s historical analysis of recording (2008) argues that improvements in digital music production underscore a pre-existing fascination with creating artificial sounds and thus have cultural and social implications. The suggestion here is that modern technology (over the past decade in particular) has moved creativity forward—recording music is no longer confined to a small percentage of interested stakeholders (Sexton 2008).

Laptop computers and free digital audio workstations are two proper tools that reduce the time for musicians to capture and distribute new ideas quickly. Unlike the low-fi efforts of decades past, this autonomous recording class can produce rich digital-quality media at home. To be fair, just because today’s artists have access to small audio interfaces, tablets and laptops, and USB microphones, do not imply they know how to use these tools. Recording technology’s accessibility and affordability enable novice producers to assimilate the content and connect with others via the Internet (Taha 2011). A possible scenario involves an artist learning how to record vocals on YouTube, tracking and recording their parts with a USB microphone or an iPhone, and then uploading the finished product to SoundCloud the same day.

Citing Castells (2000, 407–409), Théberge (2004, 761) perceives that the populated centres of economy and technology are no longer separate, but rather a part of a larger chain of informational exchange, one that emphasizes a broader process not limited to a single place. In essence, modern recording technology and the entertainment industry crisscross into a complex global network fuelled by culture and data. Leyshon (2009, 1313) further considers the proximity and economic influence of the entertainment sector on commercial recording studios in the major metropolitan regions. Global and local networks intersect into an intricate web of activity.

Traditional recording studios, mostly seen as an extension of the music industry, once invested in technology that expanded their recording processes to reach a global clientele (Théberge 2004, 761). Today, although recording studios do serve a significant role in the global music economy, they must continually find new business models to generate revenue and stay afloat as technology changes. Indeed, with competition and changes in business models comes innovation from opportunistic music entrepreneurs. The recording budgets are smaller; therefore, cost-effective approaches ensure the musical stakeholders produce a reliable product without compromising audio quality. Also, while it is unfortunate to see iconic studios close, independent artists and producers must acknowledge these realities and embrace the growth and reinvention opportunities that arise due to changes in the audio industry.

The demise of traditional recording studios now demands the rise of an intelligent, confident, media-literate, and self-directed community of producers who take it upon themselves to learn how to create their ideas. Production methodologies, once a guarded secret, are readily available for aspiring recordists to learn from through tutorials, forums, and websites—these are vital resources that contribute to the independent artist’s technical literacy. Likewise, that literacy extends to the music industry as artists can learn about how to promote their ideas and albums. Sexton’s (2008) example of artists using and reusing musical samples illustrates this point and draws comparisons to the kind of literacy that comes about by honing a craft through trial and error. An artist must find samples, edit them, and use them in new and fresh ways. That effort produces creative work that can also be repurposed by others (Sexton 2008).

The independent producer’s artistic and aesthetic preferences, inspired by personal choice, individuality, and intrinsic values, intersect with the music production already happening in bedroom studios with laptop computers and via Internet collaboration. As the independent producer’s evolving music production skills fuse with a renewed sense of community-based entrepreneurship, these factors illustrate compelling transformations in the music industry. That change suggests increased autonomy and possibilities for independent artists to produce highquality sound, function autonomously, and generate modest profits without major label support.

Statement of the problem

There may have been previous researches in this subject. This work gives further explanations and analysis in a critical review of uk independent music business

Objectives of the study
To understand the viability of UK independent music business to a US market
To understand the challenges facing the penetration of UK music business in US market
To identify and recommend solutions to the problems.

Research questions
What is the viability of UK independent music business to a US market
What are the challenges facing the penetration of UK music business in a US market
What are the possible panacea to the problems facing UK music business penetration in a US market.