And what does the author of this book know about music or the music industry?
In the mid 1990s I played in a band that was locally quite successful (while “locally” doesn’t mean anything if you live in Luxembourg, which is one of the smallest countries in the world), at the same time I was working as a graphics designer in our country’s biggest recording studio (which featured an SSL 4000G console back then, and so it wasn’t just a small amateur studio).
In the late 90s, I planned to start my own studio and record company, but then my first software project started to become successful, and I had to drop the idea as I needed to fully focus on web platforms.
I developed Luxembourg’s most successful educational platform of the 2000s, and in 2007 I created a collaborative platform for science fiction authors centered around a virtual galaxy that won several awards in the United States (2nd place in the SeoMoz Web 2.0 awards, project of the week in Linux Journal, Yahoo’s pick of the day, ...). In 2011 I created another successful educational platform that has now been licensed by Luxembourg’s government and that can be used by all of the country's students and teachers.
I experienced the rise of the internet and of web technologies, I was lucky to be part of that revolution to some minor degree, and I am grateful for the success my platforms had so far, even if all of this was only on quite a small scale.
AT THE SAME TIME, I WAS ABLE TO WITNESS THE DOWNFALL OF THE MUSIC INDUSTRY, AND I MUST ADMIT THAT I AM NOT THAT SURPRISED ABOUT HOW THE ENTIRE MUSIC BUSINESS ENDED UP.
Technology and the internet are highly innovative industries, and some companies are run by some of the most clever people on Earth. Many of them are real geniuses, and there are tons of intelligent, creative, and talented people working on all levels of the hierarchy. So it's not really surprising that many tech businesses have been growing like crazy during the past 20 years.
THE MUSIC INDUSTRY, ON THE OTHER HAND, IS RUN BY ... WELL, LET’S SAY THAT MANY PEOPLE IN CHARGE OF THE RECORD INDUSTRY ARE NOT THE BRIGHTEST STARS IN THE NIGHT SKY.
And this is not only true for record company leaders and top managers who have mostly been taking hilarious decisions within the past few decades, the problem goes all down in the hierarchy, and it’s even a problem with many of today’s artists who are nothing but talentless puppets hoping to make some quick money by selling pitch-corrected vocals and cheap beats.
And it's also true for most amateur musicians, who still believe that they may become famous and make some real money by simply recording some boring songs they randomly wrote in their rehearsal rooms. This is not how the greatest artists of the 20th century created their music, and this is not how the greatest albums of all time have been recorded.
When I planned to restart making music in 2008, the first thing I wanted to do was to analyze the problems of today’s music and of today’s record industry in detail, as I didn’t want to make the same kind of stupid mistakes everyone else in this business was making, and I didn’t want to produce yet another irrelevant record that everyone would ignore and that nobody would ever buy.
Shortly after, I stalled my own music project as I had noticed that the entire problem was way more complex than I had initially thought, and I started working on the Jamplifier platform and on the ebook you’re just reading. I felt that it was more important to analyze the core problems of the industry and that it was a good idea to share all the information I had with other musicians out there (although I probably wouldn’t have started writing this book if I knew that it would take me 10 years to finish it).
So here I am now, offering you all the information I gathered within the past decade. I may not be a “music industry expert”, but soon you’ll learn that all of those “experts” are absolutely clueless and that most artists fail exactly because they’re following the recommendations of people who know nothing about anything.
And now that work on this ebook has been finished, I will also be able to finally relaunch my own music project, and I will also apply all of the recommendations and strategies that you’ll find in this manual to my own music, of course.
So what’s the final verdict?
Well, you may either believe in the recommendations you’ll find in this manual, or you may continue using the same strategies the music industry has been unsuccessfully applying during the past 20 years.
It’s up to you!
Read the book, make your own judgment, and share your experiences on www.jamplifer.com.