I migrated from Ableton Live in 2019, simply because the tracker view suited my needs a lot better than the usual arrangement stuff. Also, gotta admit that I barely use the unique Renoise features, such as pattern FX commands (DXX, UXX, RXX, etc…).
My workflow is mostly based on VSTs these days. However, the tracker paradigm stuck with me better than anything I’ve tried before (Max/Msp, Pd, Ableton Live, FLStudio, etc…). The only DAW that has been attracting me lately is Bitwig, and that’s why I’m considering buying Redux (the price is p good, also).
According to Spotify, Venetian Snares pulls 74,530 monthly listeners. That doesn’t sound like a lot. I don’t know what Spotify pays per stream but this certainly can’t be enough to live on.
Yeah but I’d wager he hit his peak popularity in the early/mid aughts, well before streaming. He probably made some decent bank in those days… I dunno, and it’s all relative, but it seemed like a lot of people had at least heard of mr funk around that time
Yeah, snippets of his music popped up on tv occasionally around that time. On British Top Gear, who had a fantastic music guy. So many little musical gems on that show. But also on a Dutch home improvement show. And maybe even a car commercial or something like that.
Which got me very excited. I was into his music since Doll Doll Doll appeared on Hymen Records. I spent so much money on Ant-Zen and Hymen Records back then. Good times!
0,003 dollars per stream. So Venetian Snares gets 223 € for 74530 monthly streams.
I don’t think so. The only ones who can make some decent money with electronic underground stuff are the most popular DJs on earth just like Sven Väth. If you want to make some decent money as a musician you gotta create commercial crap.
Must artists don’t make much if anything on their recordings. Live performances are how they survive. Recordings are just a means to an end – building a big enough fan base that will come out and pay to see you play live.
Feel free to take this with a spoonful of salt
< Demystifying the Internet’s Breakcore Revival | Bandcamp Daily >
As of 2020~2022, there has been the “resurgence” of it, but with it heavily relying on the romanticization of either sci-fi, to absurd levels of anime, memes, and sprinkles of other bits of subcultures and progressivist values, it’s alive and well in it’s own little corner.
Looking around through TikTok and Instagram, you’ll definitely find this kind of breakcore becoming more and more prominent, as the older (and harsher) sounding stuff is pushed back in lieu of this push in weird/cutesy kind of thing.
In one way, It’s really nice to see that Breakcore within itself is making a comeback, though, not in the way that most of us had expected.
Technically, I too, am a part of the resurgence of breakcore, but don’t want anything to do with the absurdities of its current face-value it carries, it leaves a really bitter feeling in my throat and feel that it’s not for me tbh.
With that said, it’s still around, but it has definitely gone under a new ID change.
Honestly, I wish I was around when it peaked back then lol, but enough of that…
Breakcore is both daft and exciting . I love a good mental kick around with breakbeats. Ive been making mostly chilled electro over the last 2 years but I crave the cut up jumpy car crach that is breakcore. I might mash a load of beats soon
So, what’s the best of the new breakcore? Anything good that needs to be heard? I’m an old head and mostly only ever listened to Vsnares and some of the IDM roots of breakcore. I imagine the new stuff is quite different. Is there anyone working in the more experimental end of the spectrum worth knowing about these days? Asking anyone/everyone
Thats a good point. I need to research this. I see a lot of glitchy stuff out there but the “break” element is replaced with modular bleeps- Spacey Chaos | Modular Synth - YouTube
(sorry if this is NSFW, but I think it’s very important to discuss this)
People (me included) also don’t wanna be associated with artists who are constantly placing references to rape, abuse, lolis etc in their music and album covers as means to grab attention on social media… Breakcore has a long history when it comes to edginess and shock value (certified Captain Obvious moment), but this is 2023, folks.
So I guess I can see two main challenges breakcore producers must face: a) disassociating the genre from abusers and people who promote abuse for shock value, and b) reclaiming back the term to its original meaning and ideology (which is inherently anti-fascist, anti-conservative, anti-paedo, etc - specially due to the punkish roots of breakcore).
I’m personally not into that kind of modular breakcore-ish stuff. They usually fail to capture the essence of breakcore made in trackers, unfortunatelly. They can sound cool and all, but it’s a different vibe, hard to explain… Feels kinda bland in comparison to the attention given to details in breakcore, which usually comes in a more “manual”/“human” approach instead of the “automated” or “logic-based” sequencing. No offense, though - I’ve produced both, anyways, but stuck with trackers and a humanized approach.
Modern breakcore is very very hit or miss, but if you may allow me to shamelessly self-promo hehe.
This is my secondary alias that kind of is an amalgamation of the likes of Dj Donna Summer, Patricider, FFF, Society Suckers
Other musicians that I may lead on about are people like X.NTE, Eighaphoria, DJAW
I’ll leave their soundcloud links here too
thanks for the tunes! seems like a lot of it is basically hardcore. That DJAW track comes closest to the older style’s sound and honestly sounds like something that could conceivably come from that mid aughts time period. I find that style much more interesting, but as I said, I’m old and have already shredded my high frequency hearing on harsh beats 20 years ago lol…
might have to start listening to DJAW on occasion, tho
Assuming each of those listener’s accounts for only a single stream and no more… bout $150USD per month. If those monthly listeners average 10 streams, bout $1500USD per month.
Then, take into account the various other platforms that he likely distributes to. Is certainly ranging from supplemental income to as much or more than I make working a job that pays well but that I hate.
Streaming as a primary source of income, without moderate to high spending in advertising/marketing and probably botnets, is incredibly far-fetched (for more than a handful of people that already do). Streaming as a supplement to gigging/live performance or a “more stable” job? Could be a legitimate quality of life improvement.
