The internet giveth and the internet taketh away (piracy edition)

02 Sep 2012 | 295 words | art music piracy technology

Turns out that theverge does music reporting of sorts. their recent history of dubstep music (‘beyond lies the wub‘) contains two short passages that highlight the impact of digital technology on art (in this case dubstep music).

The first passage highlights how digital piracy killed the music industry might have actually driven the quality of music production in the past dececade or so:

“They cost nothing if you know how to get them for free, which most people did,” says Martin Clark. “The VSTs [Steinberg’s audio plug-in architecture] were available on peer-to-peer sites. So suddenly it’s democratized, right? You have zero cost to acquire a studio. You have this like, infinite [potential]. Anyone can be a producer if they can get a hold of these. From that pool you have a much larger pool to select who makes interesting music, as opposed to just who can make music. It’s no longer a question of whether you can make music, because the software is distributed, it’s accessible.”

On the other hand it seems that the same technology has also contributed to the decline of the very pirate radio stations which were once considered the backbone of London’s urban music culture. turns out that the same developments that allow pretty much everyone to become a producer, make running a pirate radio station a pretty silly exercise:

“It’s totally changed,” according to Boomnoise. “I mean, if you sit down at a computer with an internet connection, you can find pretty much anything you want to listen to, whether or not it’s in the radio format. And what happened was, I think with the internet was a shift from the local to the global, essentially, a shift away from having a very localized audience.”

Read the full article here