Following on from my earlier post concerning the viability of the net as a means of distributing your artistic output for profit this recent report from the PRS seems to suggest that getting out and playing has now become more profitable than selling recordings of your work.
Then again, this could be skewed by the fact that some of the Major artists command a rather sizeable ticket price for their performances......
Tuesday, 21 April 2009
MP3 to Vinyl
There is a plethora of ways to covert your cherished vinyl recordings to MP3's but, in light of the recent campaign by Jarvis Cocker & friends to support independant record stores in the UK, what about the reverse? Is it possible to reverse the process and create the beautiful tactile discs that were once the staple of the music industry?
Perhaps this may point the way!
Seriously, though, if you really want to go the whole route of putting your artistic endevours onto a peice of black plastic then, as this article points out the only way seems to be to pay someone else....unless of course you have 10k burning a whole in your pocket
Perhaps this may point the way!
Seriously, though, if you really want to go the whole route of putting your artistic endevours onto a peice of black plastic then, as this article points out the only way seems to be to pay someone else....unless of course you have 10k burning a whole in your pocket
Friday, 17 April 2009
Songs in the key of Shakespeare
Whilst searching the web for some form of online musical composition programme (look I don't get access to Reason from work okay) I came across literature2music.com.
It strikes me that this is a similar concept to the one that Pete Townsend wanted to use for the Baba o'Reilly track, insofar as it is data being input to generate a musical sequence.
Unfortunately I've also forgotten my earphones to plug into my works PC, so guess I'll have to wait until later to try this little gadget out - it would be interesting to compare whether the Bard or Barbara Cartland produces a better composition when the text of their work is input!
It strikes me that this is a similar concept to the one that Pete Townsend wanted to use for the Baba o'Reilly track, insofar as it is data being input to generate a musical sequence.
Unfortunately I've also forgotten my earphones to plug into my works PC, so guess I'll have to wait until later to try this little gadget out - it would be interesting to compare whether the Bard or Barbara Cartland produces a better composition when the text of their work is input!
Tuesday, 14 April 2009
Jukebox Jive
Okay, so you've accepted that you've got to give stuff away to get attention but where do you put it? Something that springs to mind, especially if you are a gigging ensemble is to get yourselves on the various sites of the venues that your outfit has performed at. Take for example the London venue of the Bull & Gate . Now in the dark distant past one of my old outfits played there, and as is the norm, we asked the sound guy to record the live performance. This was before the net had really impacted on every day live & recording to a CD was the height of technology
Now, what if you played that venue today and agreed to make such recordings available to the venue to put on their web presence in a sort of jukebox of bands that have played there?
You would get increased exposure, and the venue would have a growing showcase to pull in the punters.
The band plays “live” at the venue which supplies a soundman to record the performance and let the band have a copy.
The venue itself may not have the hosting capabilities to store all the mp3's that would invariably end up on the proposed jukebox, so why not put your recordings in the Internet Archive with a Creative Commons license attached. In return for giving the venue the right to broadcast the tracks free of charge, the band could then have them featured on the venues on-line jukebox.
The venue gets to show its credentials in terms of the past acts it has hosted, and the acts get further exposure.
Extrapolating from this the venue could use this as a means of gauging which bands to re-book by capturing the hits each act gets via the jukebox. If they are so inclined it should also be feasible to produce charts – let’s face it we all like our names in lights.
Likewise with a little clever meta-tagging the bands could exploit the “showcase” to point punters in the direction of their material and/or website- naturally it would only be right to include reciprocal links back to the venues site.
Now, what if you played that venue today and agreed to make such recordings available to the venue to put on their web presence in a sort of jukebox of bands that have played there?
You would get increased exposure, and the venue would have a growing showcase to pull in the punters.
The band plays “live” at the venue which supplies a soundman to record the performance and let the band have a copy.
The venue itself may not have the hosting capabilities to store all the mp3's that would invariably end up on the proposed jukebox, so why not put your recordings in the Internet Archive with a Creative Commons license attached. In return for giving the venue the right to broadcast the tracks free of charge, the band could then have them featured on the venues on-line jukebox.
The venue gets to show its credentials in terms of the past acts it has hosted, and the acts get further exposure.
Extrapolating from this the venue could use this as a means of gauging which bands to re-book by capturing the hits each act gets via the jukebox. If they are so inclined it should also be feasible to produce charts – let’s face it we all like our names in lights.
Likewise with a little clever meta-tagging the bands could exploit the “showcase” to point punters in the direction of their material and/or website- naturally it would only be right to include reciprocal links back to the venues site.
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