Ananke wrote:I'd agree with you but I wasn't suggesting that the people making music were faking it or not really interested in whatever genre they were creating for (although I'm sure that exists to some extent).
My original point was that I don't think there is a massive driving need from the music industry for more sophisticated software to create more ambitious music. Most popular music is created easily with the tools that are currently around. I think that any kind of new "frontiers" reached are mainly from the academic community.
Hi Ananke. I agree. Maybe some developers can imagine some unique need lots of generic customers would want once the new thing is created, though the developer does not see a personal need for the new tool. Identify a new niche and then fill it out of profit motive.
I was never imaginative that way. Sometimes I wrote tools I didn't necessarily need but had seen people ask for, which seemed a good idea. Otherwise, just developed things I personally needed and was either lucky or not depending on whether enough other people thought it a good enough idea to buy into. I think new tools that are easy to explain/demo, or self-evidently "useful" have the better odds. If you have to write long white papers or create hours of youtube tutorials just to explain what the tool is good for, then it is probably an uphill slog trying to sell it.
Maybe explains the plethora of chorus units, compressors and EQs. Lots of people already know how to use such tools. Not a big educational effort to convince the user that he needs a compressor or EQ. "See, I got this shiny new shovel fer sail. It works just like any other shovel but better. Has a nice paint job, plenty of chrome and a catchy brand name. This here long list of testimonials from famous ditch diggers who think my shovel is the best."
Apologies was not trying to be preachy about "ya need to like the music before you can sell it." I just think it is approximately accurate and it took awhile to learn the lesson, so was trying to pass it on.
The main consequence is that even really good musicians can be "commercially doomed by their elevated tastes" if the tastes are more effete than those of potential audiences.
Maybe some year, worldwide sales of house, rap, hard bop, metal, country have all fallen so low as to be lost in rounding error, The only thing selling is the new Swine Swill Beat sweeping the charts in all known galaxies. So some real talented musician who hates Swine Swill music says to himself, "Self, If you are gonna sell any records this year then you better record Swine Swill music regardless how bad it sucks". But somehow the audience can tell, and they don't buy the records anyway.
Then there is some young musician who loves Swine Swill music even better than the fans. That is the kind of fella who will sell records.
On the other hand, after the Swine Swill Beat fashion has faded, unless the young Swine Swill star has tastes wide enough to appreciate newer fashions, then he can only hope that his fans live long enough and remember good enough so that he can keep playing Swine Swill Revival oldies tours well into his dotage.