DJ Pain 1 Talks about the Internet
Music Industry
Music in Cyberspace
Pacal “DJ Pain” Bayley earned a gold medal for producing the song
“Don’t Do It” on young Jeezy’s album “The Recession.”
Part 2 of 2
By Jonathan Gramling

Indicative of the new Internet-based music industry is the experience
of Pacal “DJ Pain 1” Bayley. Bayley didn’t have to uproot himself to
New York or LA to establish his career. He didn’t have to go hungry or
be a waiter as he waited to make the connections, to be discovered
as an artist. No, it was all done out of the tiny studio in a converted
bedroom where he made connections with music people he never

Bayley received gold record certification for his song ‘Don’t Do It,’
which Young Jeezy recorded on his album “The Recession.” Due to
the cyberspace nature of today’s music industry, Bayley did not spend
any time recording with Young Jeezy let alone spend time with him in
the same physical space during the recording process. It’s all done
through the Internet, this decentralized, free-wheeling music industry
frontier that could end the dominance of the large record labels as we
know them today. There has been a shift in power from the label to the artist.

“There are some paradigms that I won’t be sad to see go,” Bayley said of the traditional music industry. “But I don’t think it is the death knell for
labels. I think there are some pretty creative people across the board on the major level on the independent labels who are finding ways to
adapt and still reach listeners. But a lot of the artists are doing it themselves. There are just so many options now with the Internet and mobile
technology. It’s this boulder that’s started rolling and you can’t stop it now. Artists just started doing it all themselves. And they are reaping all
of the benefits. There is no label taking a cut of their money. There is no one taking creative control over what they are doing. Why would they
relinquish control of their music and their career at this point when they don’t have to? I think that is a major difference from now and say 20
years ago.”

And because of the Internet wiring of artists to one another and the almost instantaneous availability of music to consumers once it has been
recorded by the artist, music itself is evolving at almost break-neck speeds.

“You have a lot of interesting music coming out now because people can just record whatever they want, whenever they want, wherever they
want,” Bayley said. “And now it’s not just a matter of them being able to record it. Now they have access and direct access to ears. Music is
diverse now, probably more diverse than it has ever been because of that. A lot of it is blurring the genres of music.”

And due to the nature of the industry, one can make it big in a hurry. But one can also become obsolete just as quickly. Bayley tries to be
prepared for whatever challenge this fast-paced industry presents him with.

“I think it’s just a matter of having a diverse portfolio as they say in the investment world,” Bayley reflected. “You want to have a lot of different
eggs in a lot of different baskets. That’s how I am. As a composer, I have a lot of different options. I can work directly with artists. I can
compose for TV and film and whatever else is out there. I can get my music licensed. I can create production libraries for other composers to
use. I can DJ and play my own music on stage. That’s another revenue stream. There is a lot that you can do. Streaming or selling albums, that’
s just one way.

“I think these options have always been there. It’s just that now because technology is giving access to so many more artists, now the world
of music is so saturated with creators, so in order to survive, you really can’t just rely on one particular revenue stream. You have to be
diverse. Necessity is what is pushing a lot of us to learn about all of those different options and dip our toes in every single one. That’s what I
think, but I wasn’t around doing this 30 years ago, so who knows.”

Bayley understands that a lot of what he does is a limited-term gig, that all good things must come to an end. Therefore, he is making the most
of the opportunity while he has an opportunity to be a part of this ever-changing music business.

“I don’t expect anything to last forever,” Bayley emphasized. “That’s why I work long days. I work 10-12 hour days. Some of it is screwing
around because it is just so easy to screw around with all of the technology that is in my face. But a lot of it is grunt work that I don’t like doing
like keeping the social media updated and making sure that everything is working and make sure the website is functioning and making phone
calls. And if I am lucky, I get to make music for some of it.”

Let’s hope that he will be making music for a long time to come.