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Old 29th November 2018
Here for the gear

@ Etch-A-Sketch - I noticed that you're involved in Megatrax. Which goes some way to explaining your hostility toward Music Vine in this thread - to some degree we're a competitor and we're a much younger company that is geared toward a video production landscape that looks very different to when Megatrax started out and that simply isn't comparable to how the music/film industry worked in 1920s as you referred to earlier.

You've talked as if the way you value music and your approach music licensing is inherently right, and that any other approach is wrong. Whereas it can of course be argued that cheap stock music has its place, quality production music has its place - a premium will clearly always be paid for either the privilege of using music from mainstream artists or bespoke music from esteemed composers.

The economics for each of these types of music is in flux, they're not something that's set in stone somewhere. The media industry itself is relatively young and, as with everything else, is in a state of evolution.

In my letter it certainly isn't my intention to claim that our own approach to valuing music is inherently right. I am simply highlighting that the extreme devaluation that is now happening (which makes the difference in pricing between Megatrax and Music Vine pale into insignificance) clearly is something that should be discussed and brought to the attention of musicians.

One of the main reasons I wrote the letter is because we have seen that many of the musicians getting involved with this model simply don't know what they're signing up to, and they themselves are usually shocked when we explain the model with more perspective - we know this because we've received artist applications from a good number of the musicians in question.