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The group (user) consensus on music seems to be that it should be, for the most part, accessible for free, and that live shows are how music is expected to be monetized. That seems like pretty ridiculous and greedy reasoning on the behalf of consumers. You're essentially eliminating one large revenue stream, in hopes that it generates new business in another revenue stream. While labels certainly rake plenty of revenue away from the artists, I think people largely underestimate the amount of money recorded music brings in to musicians, producers, songwriters, etc. Many people who are either not part of the tour, or who cannot tour, are going to be adversely affected by the incorrect idea that the music industry is zero-sum and revenues will just shift accordingly for all. If that were the case, the labels would have been on board a long time ago and 360 deals would be significantly more prevalent than they are.

There are lots of revenues to be lost by reducing, or making free, the cost of recorded music. How much is the Beatles catalog worth (in terms of albums sales, not licensing) and what is the lifetime value of their album sales vs. their touring receipts?

My take as a former professional classical musician is to say that your idea of PR boosting ticket sales is not valid for (at least most) classical music. That's not to say you're incorrect, just to add a different (hopefully slightly interesting) perspective from another genre with a very different audience.

One reason for this is that classical music is focussed much more on the music than the musician, when compared to "popular music" (what's the best term for non-classical music that doesn't sound patronising?). Sure, Yo-Yo Ma or the London Philharmonic can attract people based on who they are, but even then a lot of decisions to see them or buy their recordings will be based on what they are playing. If you're a Katy Perry fan, chances are slim that you really want to see her live, look up a concert, then say "ah, but I'm not a fan of those songs, I'll give it a miss".

Another reason is probably range of repertoire - again this comes down to caring more about the music, not having the piece tied directly to the person/group who always performs it. If you love Francois Couperin's music, you're going to find it a lot easier to buy recordings than find performances. I suppose the same is true for indie performers, but I think a classical listener is more likely to find a wider range of classical music that's hard to see live than the equivilent situation for indie music.

Probably plenty more reasons too, but not too much off the top of my head. Oh, and demand I guess. A classical music concert will typically either perform once, or perform a short run, or perform a few times in different cities (or countries). That's the case even for the very biggest performers. A big pop performer, on the other hand, can do a much longer tour, and can sell far more tickets for each.

As to recordings, I think classical recordings have a longer shelf life - sure, some people still buy music from the 80s, or whenever, but much less than around when it was released. Whereas classical music, all the music is so dated (not in a negative way, just literally) that who cares if it was recorded a month ago or thirty years ago, if it was originally written centuries ago. On top of that, I suspect classical music listeners are less likely to pirate music. Possibly that's a generic snobbish view, but I think it's accurate.

When people talk about artists compensating fewer sales with more concert revenues, they always forget that not every artist is an indie rock band - there are genres that are less likely to be enjoyed live.

For instance think about that ambient, downtempo artist whose music is primarily meant for quiet listening sessions at home. Furthermore I could very well imagine that this kind of music and probably a lot of other niche stuff won't make their listeners buy fan shirts - there are genres that are less suited for live gigs and whose audience won't be attracted to merchandising.

To cut it short - what may work for a majority of artists isn't necessarily the solution for everyone and shouldn't be considered as a general fact that compensates for lower sales revenue or even justifies it.

You said in your first paragraph what took me this much to say http://copymix.wordpress.com/2011/06/30/on-music-industry-an...

I don't think Grooveshark is a very good product, but I'm not crazy about Spotify either. Last time I used Spotify (about a year ago) they didn't even have the ability save albums to a collection or library. You could only create playlists which turned into terrible UI once you had more than a few. Not having a web interface is also a major minus in my book.

I've been using it for more than 3 years and have noticed lots of duplicates in searches like you mention, but the flagging feature has removed virtually all crappy songs. I bump in to way fewer of these types of tracks now than in 2008 when it was called Grooveshark Lite. The vast majority of songs are great quality. But I agree, there are lots of duplicates and bad tagging around.

Another upside to user uploaded content is that Grooveshark has a massive library of available songs. I have found the most obscure artists in different languages on Grooveshark. I listen to a lot of music and artists and there are very few musicians I haven't found on Grooveshark.

Switch to (and pay in) the UK store, links at the bottom of the itunes store home page.

This will likely never happen.

You can't really upload tracks, as in upload to the cloud. You can only import tracks into the client so that you don't need another media player to play them.

I am aware. I am just wondering if an Rdio/Amazon Music mashup service exists.

The most important: Audio quality. If you have a paid Spotify subscription, you get 320kbps ogg streams (when they're available).

> And also, yes I can index my local catalogue (but the local tracks are not available on other machines/devices).

They sync just fine to my phone and iPod, so long as they are in playlists.

Yeah, exactly. I've used the mobile apps of both, and Rdio's has 9 confusing icons and requires you to learn a complicated mental model of your music library will work, whereas Spotify just has 'Playlists', 'Search', and 'What's New' - couldn't be simpler.