There is a perfectly good reason why "the entire process shouldn't be monetized". It's a super big fucking distraction to have people at your recording studio when you're trying to do something that is already extremely difficult. The entire process IS monetized, because you're supposed to pay for the copy of the work you take when it's over.
And for the record, many artists do take songs on the road, try them out, and change them based on public reaction. Then, they come home, spend money and record it. You want a copy? Pay for it.
"Last I checked, no artists are selling MP3s to consumers on a per stream royalty basis. "
Still, every time the record is aired in public (bars etc), royalties are paid. And even when selling to consumers, they'll sell a vinyl disk, then a cassette, then a cd, then an .mp3, then a .wtf... and every time, it's the same damn recording, and if you try doing the format shifting yourself, they'd like nothing more than throwing you in jail.
And let's be honest: most record companies and artists ALREADY make more money from merchandise than they make on recordings, the same way comic book publishers make more money from toys than from actual comic books. This myth of the starving artist being robbed of revenue by downloaders is just that, a myth.
Now, where's that cassette that killed music back in the 80s...
Should the plumber charge $0.05 + a small profit or should the plumber charge $0.05 + a large profit to offset the cost of developing the robot? Once the robot is available, it costs the plumber basically nothing to fix your problem, but it took the plumber a sizeable investment to create the robot in the first place.
And I've already wrapped my head around the fact that I'm going to have to be agile to keep figuring out new ways to earn my own paycheque, so that I can afford that $1 repair.
No. A plumber wants to be paid for work, your musician wants to be paid a rent. A plumber wants to be paid once, your musician wants to be paid for every copy.
If your musician comes to me and offers to make a song, and I agree to pay to fund it, then fine: we make an exchange just like a plumber and customer. But a plumber does not then impose restrictions that I cannot copy their pipes and stuff, or cannot allow anyone else to use them.
A plumber is not given special monopoly privileges -- that is the difference. Now, such privileges might be pragmatically justifiable as a market mechanism (as is the contention of copyright), but there is clearly a difference between having them and not.
Buying an album from a musician is similar to buying a book about plumbing that a plumber wrote, and I imagine that most such plumber-writers would indeed have interest in protecting their copyright on their books.
These are entirely different business models, and we software engineers should understand them immediately. It's the difference between running a consulting business and running a product business.
The problem here is that a "product business" in the online world is hardly sustainable, because enforcing artificial scarcity of your product is basically impossible. Which is why the entire software industry is quickly shifting to SaaS models and consulting as fast as they can. The music business should do the same and stop whining.