Music, Film, and Grandeur.

I was talking to someone the other day, and I was pointed at a myspace music page.  The artist was independent, and it was a nice mesh of acoustic guitar and beautiful female vox.

It got me to thinking.

In film, the kinds of things that I do, visual effects wise, are dwarfed in Hollywood production, even in terrible films (though more notably in very good films).  The expense and scale of my productions are basically what make them, and similar filmmakers works interesting: creative use of very little.

I notice that it is not so in music.  Famous musicians use the same tools, the same instruments, the same basic approach and format, that independent musicians do.   The same very little.  A couple of guitars, a distortion filter, and a drum set, plus or minus a keyboard, and lyrics.

If the film indy-to-pro differential was applied to music, then great expense and time would be spent to orchestrate all professional music, and bring it to life with 120 instruments of all varieties.

Instead, music has been infused with a steep cost-benefit ratio, because–for some reason, people accept that very famous music is just fine having the same production value that very unknown music has, and they pay for it, separating from music the necessity for heightened artistic merit in the eyes of the investors, and robbing from the market truly good music.

Why people accept this, is beyond my grasp.

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