ProfD

Fans buy tickets to see the artist. If an individual musician can't make the show or is replaced but the artist is there, fans aren't going to demand a refund. However, if the artist i.e. star of the show can't make it but the band is ready to go, fans will expect a refund.😎

Maybe so from an artistic perspective. We care about it as musicians. The music business is about making as much money as possible in the moment. For one reason or several, it is a risk that has been been taken many times over because it's a business. OTOH, a guy like Dave Grohl (Nirvana & Foo Fighters) has been through it a couple of times and hasn't missed a beat.😎

That clip should be recommended viewing for every artist and musician. Reality.😎

Something else to Add to the mix musicians who can afford to play for little or nothing. Those who have other sources of income and benefits along with other forms of entertainment help to dilute the market. As it has always been, artists and musicians have to come up with something that makes their existence an added value. There are several factors that create a demand for music.😎

Seriously, I almost feel sorry for musicians who are blessed/cursed with the ability to play difficult music. Whether paid by the number of notes played and/or complexity of the music, Jazz and Classical musicians would be the highest paid performers. 😎

Nor really uncomfortable or hilarious but I did a bunch of gigs where unpaid women would get on stage and strip and dance. The band members at the front of the stage kinda served as bouncers to the extent they wouldn't allow dudes in the audience to touch or violate the women. Those were the gigs where being a KB player in the back was the best seat in the house. Unobstructed view access to the free show within a show.😎

As independent contractors, the pay artists and musicians can command is predicated on demand for their products/services. If the pay is too low or stagnant, artists and musicians need to figure out what they're doing *wrong* and/or what they can do to increase revenue. It's really no different from running any other kind of business. That's the main problem for many artists and musicians. They do not see themselves as a business. For some strange reason, too many people overestimate their worth in believing that with a modicum of talent, somebody should pay for it. Yeah....no.🤣😎

As I mentioned above, I could see that happening too. Would definitely make sense.😎

There's a similar thread at Keyboard Corner. Unfortunately, Brick and mortar music stores will continue to fade as online competitors and YouTube has diminished need for the in-store buying experience.😎

Within the past 10 years, most folks would be hard pressed to name 5 musicians let alone 1 who are double threat Pop and Jazz musician. The music industry no longer caters to a talent like Jesus Molina. Uber-talented folks like him get absorbed into playing behind other artists.😎

Jesus Molina is yet another example of a gifted and talented person. No other explanation for his abilities required. Regardless of any decline in music education in schools and advances in music technology the universe will always send a shooting star in human form. It remains to be seen if the music business will afford Jesus Molina an opportunity to produce a body of work providing that's a path he even wants to pursue.😎

There was a similar thread a couple months ago.😎

Maintenance level of difficulty is a non-issue if/when vintage gear is on a stationary location. The reality is that vintage gear maintenance is a necessity most musicians do not want to undertake. Show up at a gig and explain to everyone that you'll need a few minutes to tune or change a pickup because it got knocked around in transit.🤣 The convenience of modern technology is that 1) gear maintenance is a non-issue and 2) provides a reasonable facsimile of sounds especially when it comes to gigging.😎

Yep. Combination of sales through SW Gear Exchange and SW gift card and a reasonably negotiated price on the Fantom EX is a win all around.😎

Absolutely. Second to Rhodes, I will always have an affinity for FM EPs and sounds in general.😎

No worries. Provides more time to sell other gear. The new Fantom will cost nothing between gear sales and gig money.😎

Obviously, an angel investor did not buy the music store chain. However, I envision a scenario where an investor bulk buys the remaining Sam Ash inventory upon closure. Then, that buyer will open an online music store and/or sell through Reverb or Amazon. About 6 months from now, patient buyers will find great deals on new gear.😎

Absolutely keep the Fatar key action. I would use a Modal Electronics synth as a MIDI controller for the key action alone.😎

Radio was that filter once upon a time.😎

I'll keep that in mind the next time I have to tune or order parts or fire up my soldering iron.😎

Facts. Definitely requires a commitment to upkeep.😁😎

The DX7 EP didn't keep up so well with those fast bebop lines.🤣 Otherwise, Kenny Kirkland was absolutely phenomenal. Gone too soon.😎

The Rhodes MK8 seems like a logical purchase especially for those of us who identify with that sound as our instrumental voice. Yet, I haven't been able to justify to myself placing an order for one. Mainly because I already have an immaculate Rhodes Stage Mark II. Also, the digital facsimiles have gotten better for a fraction of the cost. Until I can play the new deal, I'm definitely looking forward to your hands-on review of the Rhodes MK8.😎

Late to the party but would have recommended the MODX7 for the very reason above.😎

Modal Electronics makes very cool synths. Hopefully, new ownership will be able to keep them afloat. If Modal Electronics is reading/listening, the next product should b a 61-key, sampler/synthesizer.😉😎