Well, sort of.
There was an article in today's newspaper with Gotye.
It talked about his success with "Somebody that I used to know" (selling 5 million copies in the US, and number one in 46 countries)
At the end they asked what he was spending his royalties on:
"I'm spending on my studio and Ebaying fiendishly, buying rare synthesizers and drum machines. I'm building a techno geeks's lair"
So be careful, this is one guy that you don't want to get in a bidding war with!
If no one knows his Ebay user name how are they supposed to know if they're bidding against him or not ?
I suspect he's not the only person you wouldn't want to be in a bidding war with. He can't be the only synth collector in Australia with a bit of cash.
Yes, I was half joking of course, you could not know you were bidding against him.
I guess I was just thinking what an incredible position he is in. He's come into huge money, and can basically buy any piece he desire's, in the knowledge he can write it all off anyway. It's a gear slutz dream!
It's a nightmare, for all the "less is more" and "when I still had crappy gear I made much better music because I had to push harder" mantras you hear here every time. Not to mention the army of techs you'd probably need on standby.
Plus, the pressure's on now - Making Mirrors did well, but now repeat the trick, and better, oh yeah - and in 2 years max, otherwise everyone'll have forgotten.
I've been to one of those synth geek dream studios and it was a sobering and humbling experience. Not something for the faint of heart; it takes quite some discipline to not get lost and distracted completely.
Originally Posted by jrakarl
Did he just sample that?
Wow. I'd given him more credit than that. hahahhaa
See https://www.ableton.com/en/blog/gotye/ - a good part of his music is sample-based. There's a Moog Voyager OS in the studio - I think it got used for some basslines. Actually, I don't think you should subtract credit points (State Of The Art samples in a far more recognizable way); the sampling's done tastefully and usually in a clever way.
I have no problems with the sampling, but it's more like - why would you even keep that sample in there? I mean, it's strumming a D-minor chord on an acoustic guitar. You can't copyright a single chord and a simple groove like that. If he would've asked someone else to play it in the same tempo, he wouldn't have to pay a cent.
The common lets make a new disc that is better than the last, but now I will make everything more calculated, more expensive, more elaborated and somewhere along the way the original magic is gone.
I hope not, GoatEye and Adele have both make me believe in the future of music again. Music that is based on talent, based on a melody and lyrics people sing along to and still not sell their soul in a plastic prepackaged wrapper. Most of whats in the top lists today lacks most of what is commonly associated with music, just keeping rhythm and some kind of taling, screaming, wailing repeated ad naseum.
Can't say I'm a big fan of his stuff but I'm obviously not his audience anyway. Good luck to him though, the stuff he'll be bidding on will be way out of my price range anyway. It's not what you own but how creative you are with it. I worked on a track for a label that was the fastest selling debut single of all time (back then) and it was recorded for a few hundred bucks in a kids bedroom.
I just read he took out 6 Aria awards for that song, and its regarded as `one of the most successful songs in Australian music history"' (wikipedia).
Is it just the PMS speaking or is the bar pretty low here in Oz?
I think the bar is pretty low everywhere.
I actually think the song is okay, but it just got played to death.
And I like the fact that a quirky track recorded in a barn in country Victoria won the Grammy for song of the year. That's pretty funny.
I still really like "Hearts a mess", that's a cool track/video.