▶ wow, these Stereograms by Marija Tiurina are fantastic!
▶ Beautifully written: My need to create a sense of abundance
▶ Don’t sell your rights! #filmscore
Funny story: first film I scored was a fairly low budget indie film, but by default it seems all NZ film producers request complete ownership of all rights for all music written for the film. When I saw that statement in the contract I literally LOL’d at the producer and demanded it be removed. WTF you want to own the rights to my music? When did musicians become the enemy?
Anyway, three film scores later and I have retained all of my rights to all of my work. But I don’t work for Netflix or any of these studios demanding musicians be stripped of their rights, and I sincerely doubt I ever will.
SAY NO TO BUYOUT!
“Netflix does not use the term “buyouts” to describe contracts in which it buys a musician’s rights to a composition for a flat fee. The company instead uses the term “direct licenses” to refer to deals, in which the streaming service and affiliated production studios directly negotiate with composers, circumventing performing rights organizations that negotiate fees and collect ongoing royalties on behalf of composers.”
SAY NO TO ‘DIRECT LICENSES’
▶ related: Your Music Your Future
▶ Reddit: AMA with Carter Burwell
▶ ho diddly ho
▶ G.A.S. takes many forms, and while I know I suffer from it to varying degrees, one of the things that constantly surprises me is photos of peoples modular synths and when you look closely almost every module did not exist 3 years ago! GAS has been very successful in modular synth marketing, but of course it is more complex than that. When I started my modular 10+ years ago I noticed some modules may only have a small release, and either the module, the company or even the creator may disappear (eg rip Mike @Livewire) which encourages a FOMO variant of GAS!
This is a great article about the role G.A.S plays and what it may actually represent.
For me, I have found four ways to avoid G.A.S.
First is to satisfy the itch permanently. As an example I have always wanted an Analogue mixing desk capable of dub mixing, with enough input channels (24) and enough aux sends and buses to route complex effects chains. I spent years researching and hunting for an ideal that I could also afford and settled on first an old Trident desk, which I ended up selling as needed too much work to be reliable, and then finally a Toft ATB 24-8-2 which I love jamming on! The day that desk arrived I completely stopped looking at analog desks, they hold no interest to me anymore as I am satisfied with what I have, not just now but for life.
Second method takes will power: stop looking, stop searching. Limit yourself to what you have, and learn to exploit it. Read the manual, learn everything about it… No one makes you visit forums where there is always a new release that people rave about. Practice “practice not purchase”
Third method is what I now use, and it works. It doesn’t remove G.A.S. it just delays it until it decreases in GASSYness. In your web browser, make a folder in the bookmarks and label it something like ‘2own’ and every time you feel GASSY about some new bit of gear or software or whatever, just save a bookmark specifically to that folder. And think, “yes that looks great, I’ll save it here for now and check out other options’ Just this delaying action alone can make G.A.S. dissipate. And if it doesn’t, then maybe you really do need that new shiny thing! Proof this works? My ‘2own’ folder has 311 bookmarks in it, and skimming through all those bookmarks I think I counted maybe 15 things I actually decided to buy…
A fourth method: order something you really want that is on back order. I have two I am waiting on now, a Korg SQ64 sequencer and a MI Beads module. I ordered both and paid for them 4 months ago, but they are still on backorder, and boy does that take the fun out of buying new tech!