Music 4.0 is a guide to help up-and-coming music makers to navigate the music industry in an increasingly digital age. In its introduction, author Bobby Owsinski describes how this book has evolved from his previous Music Pro Guides:
“Welcome to the third edition of Music 3.0: A Survival Guide for Making Music in the Internet Age. As you’ve probably noticed, it’s now called Music 4.0, and that’s because the industry has continued to change at a record pace and has now evolved to the next level of evolution.
I originally decided to write this book precisely because the music world was changing so much. Oh, it’s always been evolving, but the speed of the industry’s remodeling has increased at a rate previously unimagined. It would be nice to say that this change is brought about by a leap in musical creativity, but that’s not the case. This metamor- phosis has been caused by technology.
The Internet has brought us so many conveniences and so many new ways of living our lives, having fun, and communicating with those we know and don’t know that we sometimes don’t appreciate how quickly it’s all come about. It’s also brought us so many choices in the way we make music and ultimately make it available that, unfortunately, it’s also left most artists and music makers dazed and confused with all the seemingly endless options. What should I do? How can I do it? Who are my customers and fans? What do they want from me? How do I reach them? How do I take advantage of all these choices? How am I going to make money? These are all questions that an artist might have had previously, but the relevancy and urgency have only increased with the current times.
I came up with the concept of the original Music 3.0 edition after writing a post on my production blog (bobbyowsinski.blogspot.com; there’s now also music3point0.blogspot.com) in which I discussed the current woes of not only the music business, but especially the artists who are just trying to do the thing they love most—play music. I know that some artists have grand ambitions to be the next Justin Timberlake, Christina Aguilera, Jay-Z, Coldplay, or any number of best-selling acts. Sometimes artists crave fame a lot more than they yearn to make the kind of music that will attract and keep fans for the long term. These musicians seem to be the ones that burn out of the business the fastest, once they realize how much work they really have to put in.
The vast majority of artists aren’t like that. They love what they do and are supremely happy when they find others that love what they do too. For them, just being able to make music without having to work a job on the side is considered a success. If that describes you, I hear you and feel you. Reading this book might not get you there, but it can set you on your way. Knowledge is power—and that phrase has never been truer than in the current music stage that I call “Music 4.0.” The possibilities for what can happen to your music are endless, but you’ve got to know how to take advantage of those possibilities before you can put them into action.”