“PAY WHAT YOU WANT” PRICING

As of December 1, 2021, my whole web store has switched to a “pay what you want” pricing model.

WHAT DOES THIS MEAN?

Rather than assigning my work fixed prices, you choose what to spend! Many pieces (download versions only) don’t even have a minimum price, meaning you can get them for absolutely free.

Certain pieces (and all physical versions) do have a minimum price, though these are still much lower than I’d usually sell for.

Every piece has a recommended price – this is what I’d charge in a typical payment model. The hope is that, if you are financially able to, you will choose to support me for what my work is worth. Or maybe you get the free download just to give it a look, then later decide to support me if you enjoy it!

WHY YOU SHOULD PAY ANYWAY

Because new art doesn’t come easily. Each piece takes tens of hours of emotional effort, saying “no” to hangouts, ordering takeout, and getting a little closer to old age. If you value the experience provided by an artist’s work, you should absolutely support them, given the choice.

If you can’t pay, at least consider sharing my work with friends. In the words of the inspiration behind this system and similarly-named Matthew Butterick: “Exposure isn’t a substitute for money. But money plus exposure is better than money alone.”

THEN WHY AM I DOING THIS?

I believe everyone wins: I want my work in new hands, and not everyone is in a position to pay. I might as well support fellow musicians and directors who want new rep, but are for ANY reason unable to pay in full, whether it be financial insecurity or simply needing to cut back on spending.

DO I THINK EVERYONE SHOULD USE THIS SYSTEM?

No, absolutely not. Artists are incredibly valuable to our lives (whether we realize it or not), and financial support is the best way to ensure they can keep producing the work we enjoy. The last thing I want to do is undercut other creators.

While I’m grateful to be able to do this, I’m only able to because I’m in an incredibly privileged financial position through my work in Hollywood.

Down the road, if I’m in high enough demand, maybe I’ll switch it back to a traditional system. To be transparent with you, though: as of this writing, the amount I earn from self-published resales is <1% of my income from concert music. So at the moment, I’m hopeful about this little experiment.

—Matt Ridge