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Jerome Renard

Outside The Box - Vault's Vision vs. Reality:

Published 10 months ago • 2 min read

Hey, Reader, it's Jerome -

↓

Blake's Vault

The conversation around artists’ revenue has been going on for over a decade. The last few weeks were not left apart. James Blake took the hot seat, believing he has the solution.

Introducing Vault, a subscription-based app to access the artist’s unreleased music.

But wait.

Haven’t platforms like Patreon been offering a similar model for years? Yet, this is not going to save music.

Behind the curtain, Vault is another initiative of Sound.XYZ, mainly known for its music NFT platform.

Let’s consider Kevin Kelly’s ‘1000 True Fans’ concept.

An interesting approach for artists, promising a considerate sum from a relatively small fanbase. But let’s be honest, achieving a loyal following is not a small feat.

James Blake is not any artist. With his success and extensive catalog, Vault offers him a sustainable model.

But is it viable for any indie artist?

The subscriber model intensifies the pressure on artists to keep putting out content. With Vault, the expectation for unreleased music could unfortunately prioritize quantity over quality, a doubting idea for some.

From a fan's perspective, the exclusivity might draw some in. But be aware of the upcoming battle of unreleased songs, with artists battling to keep as many fans subscribed.

While $5 seems small, the costs can quickly accumulate for fans supporting dozens of artists. Spotify and its $15 a month might be seen as a more economical choice.

Direct subscriptions open up a crucial conversation on artist revenue.
However, the model's success relies on many factors beyond the direct influence of artists. This might be more of a trend than a transformation.

The conversation on artist revenue models is far from over. As the landscape evolves, so too must our approaches to supporting the creators behind the music we love. Maybe the future lies not in a single solution but in a mosaic of new ideas.

Best,

Jerome

Recent Release

"Love Bomb by Brooke"

Got on this one last minute. The producer initially mixed the record but wasn’t happy with how it turned out.

So about three weeks ago he asked if I could get the mix done in 3 days.

The thing here was the artist approved the final already.

So the bulk of the work was: 1. to stay close to the original mix the producer had done. 2. fix the problems I could hear in his mix. 3. add my mixing touch.

Even if in the end, we had a big difference between the two mixes.
Everything the artist loved in the OG mix, was still there.

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Jerome Renard

I am passionate about creating unique moments in music, as well as new experiences, tech, coffee and food. Subscribe to my newsletter to receive some of thoughts, insights, behind the life, and a bunch of other stuff!

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