The best I can figure is that the 4M$20 track was popular on a streaming service that pays better, and vice versa for whatever reason.

That’s more than $45!

I got free beer at a show once 20+ years ago, too.

I pay Distrokid ~$20 a year to distribute my music to a lot of streaming services, but I do not pay individual streaming services. I never really expected much return. I wasn’t disappointed! Haha!

Maybe some kind of increasing scale for revenue depending on larger numbers of listens.

My break down by track is pretty inconsistent, too. I’ve got a single track with over a million listen that made me 36 cents. My most popular track has over 4M listens, and it’s responsible for half that $45. Distrokid doesn’t say which streaming service that revenue comes from, either. Some pay more than others, I imagine.

I have to wonder about the logistics. He can’t be running them on his own single Internet connection. Or could VPNs handle it so it would appear his listens are coming from all over the world? $10M is a lot of money. How long did it take to amass that?

Me? Honestly, I think it would be obvious to any discerning listener what music is actually made by a person, and what music is AI generated, but really, there’s so much music out there of wildly varying quality thanks to accessibility of production tools these days, it probably is literally impossible to tell the difference anymore.

Searching my username should do it. Not sure what streaming services you’re subscribed to. It’s all on YouTube, too.

A little bit, for sure. Tempered harshly by the fact I’ve spent thousands of hours and thousands of units of cash on a hobby that paid me back $45. Good thing I don’t do it for the money!

Wow. I’m a hobbyist musician. I have ~12 million listens across various streaming services and have made a whopping $45 in the two years since I finally released ~25 years worth of material. (Which is a lot of why it’s my hobby and not a living.)

I can’t imagine the numbers this guy had to pull off to make that much.

I would look at that, but I bounced off VIM hard, so probably not for me.

the death of Atom

I’m still in mourning.

Often, all this music software is used in solitude

Beethoven composed in solitude, too.

Yes, there’s something about a live performance that can’t exactly be reproduced jamming with yourself in your bedroom, but that doesn’t mean that great music can’t come out of both processes.

Beato is definitely channeling a little “git offa mah lawwn!” vibes. The reason we don’t get any more Led Zeppelins or Pink Floyds or whichever brand of classic rock he worships at the altar of isn’t because there aren’t talented musicians making music. It’s because the circumstances that those artists thrived under no longer exist, and likely never will again.

They died well before mobile formatting was a concern. I suppose other aspect ratios were getting more popular then. That and the security issues the other poster mentioned probably contributed.

Never thought I’d miss frames. Though really, I always wondered exactly why they got dogpiled into nonexistence. Formatting issues?

Synthesizers and music technology in general.

I could write an essay or two about how much has changed in the past fifty years. Most of it for the better.

Yeah, and if you went past the mode you wanted, selection was one-way. You had to flip that select switch down over and over and hope you didn’t go past it the next time around.

Combat on Atari 2600. It was the game that came with the system.

I moved to a smaller city in South Korea in 2004 to teach English. A short while after I got there, I met a couple who were from a small town down the road from the small town I grew up in in Eastern Canada. Apparently we even went to the same small university (3000 students total) together and I somehow managed to never see them there.

Oooh. I’m sure I can find those in Korea. Thanks!

So, the capacitor can mitigate the spring weakening. Good to know. Replacing a cap is probably much easier than taking the switches apart and bending the springs.