Continuing along the same lines of a recent blog post, the one featuring a new digital music strategy from Pearl Jam, Trent Reznor is making some serious waves these days, going all-in with the Radiohead-esque free digital release of his latest album.
Apparently, he spent only a month writing the songs for the record, then only three weeks in his home recording studio tracking it. He finished recording the songs on a Wednesday and completed mixing, mastering and graphics to release the album five days later. Now why can’t I get The Dimes to operate like this?
According to a recent NY Times article, Reznor has some opinions on digital music and the uncontrollable monster that it’s evolved into:
Mr. Reznor has no global solution for how to sustain a long-term career as a recording musician, much less start one, when listeners take free digital music for granted. “It’s all out there,” he added. “I don’t agree that it should be free, but it is free, and you can either accept it or you can put your head in the sand.”
Personally, I believe Reznor is a lot closer to figuring out this business than anyone else I know of thus far. “Figuring it out” meaning, how to succeed (financially) as an independent artist in an industry that is spiraling out of control, with more unknowns than knowns.
Of course it must help to have the previous financial success and experience that Trent Reznor has already attained, enabling him to more easily navigate this dynamic and unreliable industry. He likely has a decent warchest of available resources, friends, and options available that most of us indie types don’t have. However, I think the former Nine Inch Nails front man is a lot more like us than most would imagine…
Nine Inch Nails’ recent booming, ferocious and desolate sounds emerge from a studio the size of a comfortable living room. It has burgundy brocade curtains over red velvet drapes over plywood-lined walls: soundproofing with a Goth touch. Analog synthesizers and digital keyboards each have their corners, with guitars racked in between. A recording console and speakers take up one full wall, alongside a computer atop a cabinet of hard drives holding sound libraries and albums.
Since Mr. Reznor owns the studio, recording costs are mostly payments to engineers, visual artists and a handful of guest musicians — low enough to keep him self-sufficient. The setup is central to Mr. Reznor’s new phase as a free agent. “This is ground zero,” he told a visitor.
One particular component of Reznor’s recent work that has got me very excited is the technology, process, and design work that he has crafted in his recent experience. To make it all happen, he had to make an initial investment in technology, software, etc. to support a digital free record release of this size and scope. And now that he’s done it, apparently he’s planning on sharing his knowledge, investment, and resources freely with the public!
To release “Ghosts I-IV” and “The Slip” online Mr. Reznor found he needed software to distribute digital files, assemble databases and connect easily with other applications. That too will soon be available free. “We’ve spent the money to make it,” Mr. Reznor said. “Take it.”
How exciting is that?!
To read the original NY Times story, published on June 8, 2008, click here:
Frustration and Fury: Take it. It’s free.
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