“If it wasn’t for YouTube, I wouldn’t be touring right now,” Stirling said. “I would probably have an album, but I think my grandma and mom would be the only ones who bought it.”

While she takes in money from ads, and even has an ‘Assassin’s Creed 3’ music video that ends with a sponsored link to a trailer for the hit Ubisoft videogame, the real payoff comes from tours and sales at Apple’s iTunes shop.

“Yes, I make some money from ads but, for me, it is about using YouTube to expand everywhere,” Stirling said. “YouTube is a free marketing platform you can build yourself.”

YouTube chat features, and the ability to link with ‘Hangout’ online group video chats at Google+ social network, enable artists to build relationships with fans.

“Record labels, agencies want to mold you into the artist they want you to be,” she continued. “On YouTube, your fans are the only ones you want to cater to. You can be yourself and do what you love.”

Engaging fans online and maintaining flows of fresh content means that self-made Internet-age musicians can wind up working harder off-stage than on.

“It looks like being a YouTuber is all fun and games,” Stirling said with a laugh. “Any YouTuber has to love what they do or they will get burned out. It takes a lot of hard work.”

Some genres have been revived at YouTube by the likes of Ukrainian-born pianist Valentina Lisitsa or ukulele sensation Jake Shimabukuro, who performs Bohemian Rhapsody by Queen on the small stringed instrument.

The attraction of the YouTube stage has also lured already established music stars.

Taylor Swift last year took part in a live YouTube interview and unveiled her “Red” album at the website.

Alicia Keys in November hosted her first YouTube live stream performance along and Google+ Hangout to premier her “Girl On Fire” album.

“The Internet is seen as the new place people listen to their music,” Stirling said.

“This is a new way that you can be an original artist, and do all of it without a record label.”