She was in a terrible band called Dresden Dolls that had a record out when I was at college radio, like 10 years ago. They toured with Nine Inch Nails and stuff.
She had a bad falling out with her major-owned label Roadrunner, who didn't know what to do with her shitty cabaret records, because it was a metal label. This gave her an opportunity to talk about how awful record labels are which made her popular in the tech press.
Somewhere along the way she did a radiohead covers record on the ukelele.
So I think she got really popular like most people do these days: by playing covers of popular songs and espousing the ideologies of the ruling class.
Also, $20k for "pro" graphic design doesn't seem super crazy to me, especially if you're paying a fancy agency to do the work, but DAMN. Is that just for an album cover?
1. It's her money, sure, and she is providing the rewards promised. But it makes my mouth taste like barf that she got the support of so many fans to do her thing and broke all the records and is still waving a flag of music for fun and community to get musicians to play with her. What we all know is that she can afford to pay them. If you want to say she is a capitalist, well then that's what she is and she should act like one. She shouldn't be asking for volunteers, she is far from being a non-profit organization.
2. Kickstarter isn't a store, but it's a place that does create the illusion that you'll be getting something in return. The more artists flake out, or spend their money in obscene ways, the less people and fans will be willing to take the risk to donate. Because not only are we donating, but these artists present themselves as "creators in need", they have some sort of project in mind and they need funding for it. Maybe expecting the CD or DVD I was promised to come in the mail is asking too much, but the project itself should happen. The record should at least be recorded, the film should at least be made.
3. This comment reminds me too much of that time when Mitt Romney suggested students start small businesses with money borrowed from their parents. If it were that easy there would be no need, participation, or audience for shows like "American Idol" and "The Voice" and all the others in that vein. A shit ton of people out there are attractive enough, talented enough, and willing to kiss the ass of all the right people to make it big and the major mainstream way. Not all of them do.
Her use of words like "donating" and "exposure" is so sentimental in the most aloof/manipulative way. She doesn't get it. She is still trying to make it seem like she can relate to what it is to be a starving artist while living a very expensive kind of lifestyle. "I was like you once, but now I've made a million dollars, so serve me."
try not to barf! I guess if people want to buy WHATEVER she's selling (random household objects, an old dildo, a t-shirt she drew in 5 minutes) that's their choice.
It really gets you thinking... what CAN'T volunteers do?
Also wondered about taxes.... never mentioned on the referenced kickstarter updates. Owch
I just hope she is paying Jherek the big bucks! He is the only person who can make cabaret music palatable.
The best part about the story owls linked to....... the fact that that person made over $10,000 using a slogan someone else came up with (it's a pretty good slogan)
Isn't her atrocious behavior kind of a gift? Part of the self-correcting process of living systems? She's just another rude celebrity monster.
I imagine she's a hero to certain kinds of people and they will love her for sticking to her greedy guns. Other folks might feel ripped off, or have the experience - through the new level of transparency and involvement that Kickstarter provides - that they have learned too much about this person and they are done with her. In general, this episode will teach people not to be so naive about commerce. Or, that the big money is out there if they know how to ask. That's good, right?
And a lot of people are going to get music and other junk from an artist they like, right?
The system works.
Re: Taxes. She will only pay taxes on her profit. If she keeps her receipts, she will not pay taxes on the money she spends on business purposes.
Over the last thirty years, America has pursued economic and social policies that dramatically increase the distance between middle income earners and the top. Many people think this is disastrous and they are trying to think of different economic and social models. Things like Kickstarter and I don't know... food co-ops and Community Sponsored Agriculture and a transaction tax on equity trades and expanded rights to organize trade unions and meeting in parks without amplification to repeat what somebody else says about how they feel about the police.... get some people excited as potentially more equitable practices that may help to avert the chaos and violence and insanity that would likely attend the collapse of a decadent global oligarchy.
Other people are having fun in their part of the fuckedness.
I can't worry too much about whether they wasted their money giving a mean, self-involved goth lady a big windfall.
Maybe record labels should run ad supported blogs that tell people which Kickstarter projects to fund.
Re: Graphics. Kickstarter's gross revenue on $1M is $30K, right? Just sayin'.
(Most of that probably goes to the banks and insurance companies that facilitate the transactions, and then there's server and other overhead costs, fun work environments to maintain... but still, not a bad haul for flashing colored lights in people's faces.)
I like that Jherek Bischoff gets a cut.
Sorry. Just opinions . . . feelings. I like music. I pay for it some of the time. Usually it's a personal exchange.
I agree with @DrJ that the atrocious behavior is part of the self-correcting process. I have no idea who she is, but just from this thread I dislike her! It's cool that the internet can be used to issue SOCIAL MEDIA JUSTICE! Don't be a dick, we will find out, and then we will talk shit. Valuable lessons!
I'm not defending her as an awful person. I am defending her right to waste money. WE SHOULD NOT BE MAD ABOUT THAT. Let's be mad about the right things, like her terrible music and jerk-face attitude, and what a clearly terrible human she is.
@joey I want kickstarter to be a risky place. I've backed a lot of shit on there and often I don't ask for a reward cause honestly, I have enough stuff, and I just want to support friends and cool ideas. (I really want to support friends with cool ideas!) I would rather support a spectacular failure than a boring success.
I was being facetious about getting famous and being attractive. Also, I don't think "getting your million" is a very good goal.
Sorry. Just opinions . . . feelings. I like music. I pay for it some of the time. Usually it's a personal exchange.
There was a time that I had +$1500/year for recorded music and maybe another +$1200/year for shows. This year I'm probably going to do about $250 for recordings and maybe $500 for shows (maybe I'm underestimating both periods). I guess my point is that when I had more, it was less personal. Now, most of my support is going to people I know.
Last thing. I think the "industry" in the 90's was anomalous and has given many people a misguided sense of a norm.
Compact disc pricing was inflated based on an extrapolation from LP pricing. When CDs were first introduced they were rare and costly, but as the format became popular production costs fell to a fraction of LPs. This created a healthy profit margin that facilitated market opportunities for many new producers, labels and artists. With the decline of old, capital-intensive production processes, the 'gate-keeper' role of major-labels became obsolete in many ways. Eventually though, consumers got wise to the increased profit-margins. At the same time, many artists chose to market directly to their audiences. By cutting out the cost of label services, artists were able to cut the price to customers while still maintaining the same amount of profit per unit.
But a couple of other things happened...
1) Low costs + no gate-keepers + the 90's boom = Millions of new artists entering the market, competing for support, and feeling entitled to a "win".
2) Vast libraries of data, huge volumes of recorded music, coming on-line, distributed at little to no cost.
So: competition for attention has never been more fierce.
Unfortunately, living artists have different needs than dead artists, and they have a different relationship to their fans.
Fans, in this environment, have a new - more intimate - relationship to living artists and to the music they produce.
There is kind of a hangover memory of the 90's, when ripping off ... excuse me... Um, let's say: Fans didn't seem to mind supporting high profit margins and things seemed easier for artists.
It's not like that any more. Now fans have more power relative to the artists that serve them. They want more from their artists and it is easier to make their demands known.
It's not pretty, but it is what it is.
(And it seems like it could still work for both parties some of the time.)
"...the chaos and violence and insanity that would likely attend the collapse of a decadent global oligarchy..." "...right to waste money..."
Just going to take a moment to Freak Out in this thread....... since I migrated to the West Coast, I'm in a little protective bubble from this reality, which is playing out strong in my home town in the rust belt. Holy s8888 things are amazingly f******. I watched this video showing a WPA era school c.1923 being torn down. Beautiful building, built to last--and by one of the original industrialist philanthropists of the city. Why? The city has a deal with the demo company, which in turn is a construction company..... Is that the same as having a right to waste money?
remember when stereolab was on electra? i used to think they just let her sing all of these french socialist anarchist communist philosophical koans because they couldnt undstand her accent. one time i dropped her off at a discussion about barter economies.
also, kdawg, when do u take over that place u work at and hire me (to be an old grump)? maybe if i was there and saw what u were working on there i would feel more hope for culture. regardless, im proud to know a dude fighting the good fight at such a high level.
People got together and tried to make it a protected historic site, but the city moved faster to get the demolition done at a good rate. It seems like it may have been on the register but the school district voted to demolish it anyways..... cost of demolition: $940,000. Cost of maintaining shuttered building: approx $100,000 per year. Hmm.
I know it's personal to me, but I find it to be a fascinating example that can be extrapolated from. And it relates to art because...... Edward Drummond Libbey (person this building is named for/he paid for it) was an important industrialist who opened the Libbey Glass factory in Toledo in 1888. He then took his big time late 19th century riches and opened a bad ass art museum... and did some magical money things that made it so that, to this day, the museum is FREE to everyone. And all kinds of people use it... mostly fancy people who don't need it, but a good sizable blue collar group, too. So my personal relationship to Art comes from this really formalized honoring of it that came as a byproduct of the great industrial age of America. A midwestern industrial city going.... how can we become respectable and classy like Europe, so we can enjoy our riches more? There is an obvious social benefit to this as well that can't be put down to dollars and cents. Maybe religion, maybe Socialism, but these people wouldn't have been making gorgeous neoclassical architecture, cathedrals in imitation of Spanish Gothic buildings, just to glorify their money. Would they???
Since I'm also from Las Vegas, the city built on glitz, glamour, and art, I'm so confused about America....... wait, I'm not that confused. We had a great thing going and then a few people stole it and sold it. I get it now!
I got a new TV box that you can load "apps" on. There's the Grooveshark app for listening to music for free, and this other weird app that lets you stream HD quality movies somehow, also for free. I'm never paying for anything ever again. I'll support the arts by buying my friends lunch sometimes.
oh shit the boxee is dope. i know that silicone valley is going HAM over making magic tv boxes. my parent's good friend was working way high up the chain on a black box project similar to boxee/appletv whatever but they got beat to the punch and he left the company when they failed to deliver for two xmas seasons in a row.
also, u said grooveshark!
also, u won the poker tourney and u didnt even tip the dealer... also, the deal sometimes organizes a string and wind ensembles, i wonder what he would say about amanda p. i know he has done some serious 'bro rate' work, but also he and the players he represents need get paid, even if non-classical musician wages
also, urho poker night should happen soon. i bet jordan would deal if we paid him a small fee. maybe he could then play something on his viola to the winner
I have a Korg Electribe mk II I am trying to figure out. Do you guys know anything about them? I got it years ago and postponed using it until now. I guess I should get the manual from the internet.
Joey.... kind of a long shot, but if you are in Portland you might want to check in this new synth -only store that opened on Mississippi. Sound awful? I know, but the people who own it are extremely down to earth and helpful. They have classes on all their stuff! It's called Control Vintage: controlvoltage.net "Just So You Know"
ALAN: thank you dude, that is really flattering. I would love to pay you to write rants on our blog or something one day. Maybe I can fly you out to some conference as a guest expert or something.
DrJ: I agree that it is helpful to have villains! same reason I am glad they haven't kicked Charles Krauthammer off Washington Week, even though he's a racist jerk.
Mikey: I think it's okay to get mad at people wasting money (remember that epic YoursTruly blog post about the bulldozed mansions in Colorado? that made me mad!) But I don't think that (aside from Albini) people are mad about AP wasting money, just about her being kind of dishonest. When Owen said that she was spending too much on things, he was actually sort of in the most polite possible way suggesting that she was artificially inflating her expenses to make it look like she was pocketing less than she actually was.
joey, I bet there are some tutorial vids about that Electribe on YouTube. Lots of people love those boxes. The general principles are similar across the line, including the one for the iPad, so don't be too specific in your search.
Maybe no one wanted to preserve the school building because the entire neighborhood is so fucked, and needs so much attention? Better to just bury the whole thing and walk away. UGH.
Wow I actually love seeing people fail in the face of expectations.
Owls... I think you are right. Except that for what it cost to destroy the building, they could have kept it shuttered for 5+ years while looking for buyers/historical groups to get it together. There was a huge public outcry over it, people are very sentimental and respect their own city's history. Imagine that!
LT, I am sorry about your school. It's intense. I just went on a field trip to the neighbourhood I lived in as a 7 to 10 year-old. It was weird and cool. The neighbourhood hasn't changed much. The cool egyptian cinema is still there.
Joey, it wasn't my school, just a cool old school from my town. My town is evaporating because in the last few decades it has increasingly relied on Detroit. Now same thing that is happening there is happening in my town (Toledo, ohio). It's just so shocking to see the construction mafia at work, looting the dying! Leadership is rife with corruption and there is a hopeless feeling. However, I got into reading stuff that the local politicians had to say... one thing I remember was "god bless us, especially the unemployed, and may those who are fotunate enough to have jobs, may they be able to continue working for the benefit of others." Common sense from the working class, yeah!
I just ran across this image in what looks to be a neat new book by David Byrne called HOW MUSIC WORKS published by McSweeney's ($32).
He has this chart in there which helps to illustrate one of the points I was making earlier about perceptions shaped by the anomalous market conditions of the 1990's.
(Always nice to see data supporting my subjective impression.)
Sorry for the image. Camera phone in bookshop, etc.
What's being traced here are the dollar volumes per year of various music formats.
The big white mountain in the middle is CDs. It surpasses Cassettes/Cassingles about 1989 and peaks in 1999, declining precipitously until it meets the "download" curve. LPs/EP's/Vinyl Singles are the orange hill on the left.
The LP and Cassette volumes are peaking around $7B, CDs peak near $18B. The chart runs from 1980 to 2011. According to this, current downloads are near $4B.
(Not sure if this chart adjusts for inflation. Kind of doubt it. FYI: 1980 dollars are now worth $2.79, 1990 = $1.76, 2000 = $1.34)
My first art commission was for a dot com person... It was a drawing and silk screen ready image. They printed like 100 shirts for their thirtieth birthday.
There were six in the late seventies when John Foster established the "Greenline" music policy at KAOS-fm in Olympia. This was the policy that required 80% of KAOS's music programming to come from independent labels. It worked by drawing a green line on the jackets of independently produced and distributed records in the station's library.
Near as I can tell, this was the origin of the "Indie" social distinction.
Such a service would allow music fans to download audio files that sound like the studio recordings of the past, as opposed to the über-compressed song files that are currently available at MP3 stores like iTunes and Amazon. (When reached for comment, a Penguin Group representative directed Rolling Stone back to Young's publicist.) ..., a typical download contains only five percent of the data that an original analog recording master offers, and the average studio-quality audio file requires roughly 30 minutes to download because of its uncompressed size.
Young also said that he met with Apple CEO Steve Jobs before his death last fall, and that the two discussed the possibility of developing a device similar to an iPod that could store roughly 30 studio-quality albums. "We were working on it," said Young. "Steve Jobs was a pioneer of digital music. But when he went home, he listened to vinyl. And you've gotta believe that if he'd lived long enough, he would eventually have done what I'm trying to do."
thas cool. its like mz said, once you understand the korg electribe series layout, its pretty similar for all of em
starting from the bottom:
16 pads each representing 1/16th of a measure two little buttons above and to the left to advance thru 4 bars of sequencing on the 16 pads
the buttons on the right above the 16 row are your different sounds
you hit a sound and then the 16 pads below light up to show you when that sound will play in the sequence
the knobs above the sound pads alter the pads' sounds in various ways. again whatever sound pad you pushed last will be affected by these knobs
there's a little transport button row with play, record mute and solo
the big wheel and menu matrix and led screen shows you stuff like which pattern you are on, what tempo you are on and other more advanced shit i can't remember. pattern length is one that you'll probably want to figure out how to get to
to start:
go to an empty pattern by scrolling thru them all and hitting play until when u hit play nothing plays
maybe this will be like C01 or D01 or B01 or some shit i cant remember
set a cool tempo. maybe 120?
hit the first sound pad, make a cool sound out of it by twisting the knobs above
then make a sequence of when that sound will play by pressing the pads of the corresonding 1/16th note you want it to hit on. remember by default there is 4 bars, so once you punch in bar one, advance to bar 2 thru 4 and keep punching up when u want that sucker to play
hit play there is a little red/green light that shows what bar the pattern is on
adjust pattern to your liking.
repeat with other sounds
hit mute+sound pad to mute that sound. do a cool break down. cool.
change the sounds as they are playing
record the changing of sounds while they are playing by hitting the record button while pattern is playing. this is called somethng like "MOTION SOMETHING SOMETHING"
and that's about it.
there;s some cool FX that you can apply to the sounds. decimator, echos, etc can't remember if each sound has its own send to the FX or if the FX just fuck with the overall sound of the whole box
Comments
She had a bad falling out with her major-owned label Roadrunner, who didn't know what to do with her shitty cabaret records, because it was a metal label. This gave her an opportunity to talk about how awful record labels are which made her popular in the tech press.
Somewhere along the way she did a radiohead covers record on the ukelele.
So I think she got really popular like most people do these days: by playing covers of popular songs and espousing the ideologies of the ruling class.
1. It's her money, sure, and she is providing the rewards promised. But it makes my mouth taste like barf that she got the support of so many fans to do her thing and broke all the records and is still waving a flag of music for fun and community to get musicians to play with her. What we all know is that she can afford to pay them. If you want to say she is a capitalist, well then that's what she is and she should act like one. She shouldn't be asking for volunteers, she is far from being a non-profit organization.
2. Kickstarter isn't a store, but it's a place that does create the illusion that you'll be getting something in return. The more artists flake out, or spend their money in obscene ways, the less people and fans will be willing to take the risk to donate. Because not only are we donating, but these artists present themselves as "creators in need", they have some sort of project in mind and they need funding for it. Maybe expecting the CD or DVD I was promised to come in the mail is asking too much, but the project itself should happen. The record should at least be recorded, the film should at least be made.
3. This comment reminds me too much of that time when Mitt Romney suggested students start small businesses with money borrowed from their parents. If it were that easy there would be no need, participation, or audience for shows like "American Idol" and "The Voice" and all the others in that vein. A shit ton of people out there are attractive enough, talented enough, and willing to kiss the ass of all the right people to make it big and the major mainstream way. Not all of them do.
@owls-
Her use of words like "donating" and "exposure" is so sentimental in the most aloof/manipulative way. She doesn't get it. She is still trying to make it seem like she can relate to what it is to be a starving artist while living a very expensive kind of lifestyle. "I was like you once, but now I've made a million dollars, so serve me."
try not to barf!
I guess if people want to buy WHATEVER she's selling (random household objects, an old dildo, a t-shirt she drew in 5 minutes) that's their choice.
Also wondered about taxes.... never mentioned on the referenced kickstarter updates. Owch
I just hope she is paying Jherek the big bucks! He is the only person who can make cabaret music palatable.
The best part about the story owls linked to....... the fact that that person made over $10,000 using a slogan someone else came up with (it's a pretty good slogan)
I imagine she's a hero to certain kinds of people and they will love her for sticking to her greedy guns. Other folks might feel ripped off, or have the experience - through the new level of transparency and involvement that Kickstarter provides - that they have learned too much about this person and they are done with her. In general, this episode will teach people not to be so naive about commerce. Or, that the big money is out there if they know how to ask. That's good, right?
And a lot of people are going to get music and other junk from an artist they like, right?
The system works.
Re: Taxes. She will only pay taxes on her profit. If she keeps her receipts, she will not pay taxes on the money she spends on business purposes.
Over the last thirty years, America has pursued economic and social policies that dramatically increase the distance between middle income earners and the top. Many people think this is disastrous and they are trying to think of different economic and social models. Things like Kickstarter and I don't know... food co-ops and Community Sponsored Agriculture and a transaction tax on equity trades and expanded rights to organize trade unions and meeting in parks without amplification to repeat what somebody else says about how they feel about the police.... get some people excited as potentially more equitable practices that may help to avert the chaos and violence and insanity that would likely attend the collapse of a decadent global oligarchy.
Other people are having fun in their part of the fuckedness.
I can't worry too much about whether they wasted their money giving a mean, self-involved goth lady a big windfall.
Maybe record labels should run ad supported blogs that tell people which Kickstarter projects to fund.
Re: Graphics. Kickstarter's gross revenue on $1M is $30K, right? Just sayin'.
(Most of that probably goes to the banks and insurance companies that facilitate the transactions, and then there's server and other overhead costs, fun work environments to maintain... but still, not a bad haul for flashing colored lights in people's faces.)
I like that Jherek Bischoff gets a cut.
Sorry. Just opinions . . . feelings. I like music. I pay for it some of the time. Usually it's a personal exchange.
I'm not defending her as an awful person. I am defending her right to waste money. WE SHOULD NOT BE MAD ABOUT THAT. Let's be mad about the right things, like her terrible music and jerk-face attitude, and what a clearly terrible human she is.
@joey I want kickstarter to be a risky place. I've backed a lot of shit on there and often I don't ask for a reward cause honestly, I have enough stuff, and I just want to support friends and cool ideas. (I really want to support friends with cool ideas!) I would rather support a spectacular failure than a boring success.
I was being facetious about getting famous and being attractive. Also, I don't think "getting your million" is a very good goal.
Sorry. Just opinions . . . feelings. I like music. I pay for it some of the time. Usually it's a personal exchange.
There was a time that I had +$1500/year for recorded music and maybe another +$1200/year for shows. This year I'm probably going to do about $250 for recordings and maybe $500 for shows (maybe I'm underestimating both periods). I guess my point is that when I had more, it was less personal. Now, most of my support is going to people I know.
Last thing. I think the "industry" in the 90's was anomalous and has given many people a misguided sense of a norm.
Compact disc pricing was inflated based on an extrapolation from LP pricing. When CDs were first introduced they were rare and costly, but as the format became popular production costs fell to a fraction of LPs. This created a healthy profit margin that facilitated market opportunities for many new producers, labels and artists. With the decline of old, capital-intensive production processes, the 'gate-keeper' role of major-labels became obsolete in many ways. Eventually though, consumers got wise to the increased profit-margins. At the same time, many artists chose to market directly to their audiences. By cutting out the cost of label services, artists were able to cut the price to customers while still maintaining the same amount of profit per unit.
But a couple of other things happened...
1) Low costs + no gate-keepers + the 90's boom = Millions of new artists entering the market, competing for support, and feeling entitled to a "win".
2) Vast libraries of data, huge volumes of recorded music, coming on-line, distributed at little to no cost.
So: competition for attention has never been more fierce.
Unfortunately, living artists have different needs than dead artists, and they have a different relationship to their fans.
Fans, in this environment, have a new - more intimate - relationship to living artists and to the music they produce.
There is kind of a hangover memory of the 90's, when ripping off ... excuse me... Um, let's say: Fans didn't seem to mind supporting high profit margins and things seemed easier for artists.
It's not like that any more. Now fans have more power relative to the artists that serve them. They want more from their artists and it is easier to make their demands known.
It's not pretty, but it is what it is.
(And it seems like it could still work for both parties some of the time.)
"...right to waste money..."
Just going to take a moment to Freak Out in this thread....... since I migrated to the West Coast, I'm in a little protective bubble from this reality, which is playing out strong in my home town in the rust belt. Holy s8888 things are amazingly f******. I watched this video showing a WPA era school c.1923 being torn down. Beautiful building, built to last--and by one of the original industrialist philanthropists of the city. Why? The city has a deal with the demo company, which in turn is a construction company..... Is that the same as having a right to waste money?
one time i dropped her off at a discussion about barter economies.
maybe if i was there and saw what u were working on there i would feel more hope for culture. regardless, im proud to know a dude fighting the good fight at such a high level.
People got together and tried to make it a protected historic site, but the city moved faster to get the demolition done at a good rate. It seems like it may have been on the register but the school district voted to demolish it anyways..... cost of demolition: $940,000. Cost of maintaining shuttered building: approx $100,000 per year. Hmm.
I know it's personal to me, but I find it to be a fascinating example that can be extrapolated from. And it relates to art because......
Edward Drummond Libbey (person this building is named for/he paid for it) was an important industrialist who opened the Libbey Glass factory in Toledo in 1888. He then took his big time late 19th century riches and opened a bad ass art museum... and did some magical money things that made it so that, to this day, the museum is FREE to everyone. And all kinds of people use it... mostly fancy people who don't need it, but a good sizable blue collar group, too. So my personal relationship to Art comes from this really formalized honoring of it that came as a byproduct of the great industrial age of America. A midwestern industrial city going.... how can we become respectable and classy like Europe, so we can enjoy our riches more? There is an obvious social benefit to this as well that can't be put down to dollars and cents. Maybe religion, maybe Socialism, but these people wouldn't have been making gorgeous neoclassical architecture, cathedrals in imitation of Spanish Gothic buildings, just to glorify their money. Would they???
Since I'm also from Las Vegas, the city built on glitz, glamour, and art, I'm so confused about America....... wait, I'm not that confused. We had a great thing going and then a few people stole it and sold it. I get it now!
also, u said grooveshark!
also, u won the poker tourney and u didnt even tip the dealer...
also, the deal sometimes organizes a string and wind ensembles, i wonder what he would say about amanda p. i know he has done some serious 'bro rate' work, but also he and the players he represents need get paid, even if non-classical musician wages
also, urho poker night should happen soon. i bet jordan would deal if we paid him a small fee. maybe he could then play something on his viola to the winner
Do you guys know anything about them? I got it years ago and postponed using it until now. I guess I should get the manual from the internet.
DrJ: I agree that it is helpful to have villains! same reason I am glad they haven't kicked Charles Krauthammer off Washington Week, even though he's a racist jerk.
Mikey: I think it's okay to get mad at people wasting money (remember that epic YoursTruly blog post about the bulldozed mansions in Colorado? that made me mad!) But I don't think that (aside from Albini) people are mad about AP wasting money, just about her being kind of dishonest. When Owen said that she was spending too much on things, he was actually sort of in the most polite possible way suggesting that she was artificially inflating her expenses to make it look like she was pocketing less than she actually was.
Owls... I think you are right. Except that for what it cost to destroy the building, they could have kept it shuttered for 5+ years while looking for buyers/historical groups to get it together. There was a huge public outcry over it, people are very sentimental and respect their own city's history. Imagine that!
I just went on a field trip to the neighbourhood I lived in as a 7 to 10 year-old.
It was weird and cool. The neighbourhood hasn't changed much. The cool egyptian cinema is still there.
EA-1 mkII: Analog Modeling Synthesizer
ER-1 mkII: Rhythm Synthesizer
ES-1 mkII: Rhythm Production Sampler
like dulus said, they all work on same principles
and youtube yes
the hight of the groovebox era
you were close!
He has this chart in there which helps to illustrate one of the points I was making earlier about perceptions shaped by the anomalous market conditions of the 1990's.
(Always nice to see data supporting my subjective impression.)
Sorry for the image. Camera phone in bookshop, etc.
What's being traced here are the dollar volumes per year of various music formats.
The big white mountain in the middle is CDs. It surpasses Cassettes/Cassingles about 1989 and peaks in 1999, declining precipitously until it meets the "download" curve. LPs/EP's/Vinyl Singles are the orange hill on the left.
The LP and Cassette volumes are peaking around $7B, CDs peak near $18B. The chart runs from 1980 to 2011. According to this, current downloads are near $4B.
(Not sure if this chart adjusts for inflation. Kind of doubt it. FYI: 1980 dollars are now worth $2.79, 1990 = $1.76, 2000 = $1.34)
;)
% - )
There were six in the late seventies when John Foster established the "Greenline" music policy at KAOS-fm in Olympia. This was the policy that required 80% of KAOS's music programming to come from independent labels. It worked by drawing a green line on the jackets of independently produced and distributed records in the station's library.
Near as I can tell, this was the origin of the "Indie" social distinction.
..., a typical download contains only five percent of the data that an original analog recording master offers, and the average studio-quality audio file requires roughly 30 minutes to download because of its uncompressed size.
Read more: http://www.rollingstone.com/music/news/neil-young-trademarks-new-audio-format-20120403#ixzz27A7CG14n
Young also said that he met with Apple CEO Steve Jobs before his death last fall, and that the two discussed the possibility of developing a device similar to an iPod that could store roughly 30 studio-quality albums. "We were working on it," said Young. "Steve Jobs was a pioneer of digital music. But when he went home, he listened to vinyl. And you've gotta believe that if he'd lived long enough, he would eventually have done what I'm trying to do."
Read more: http://www.rollingstone.com/music/news/neil-young-trademarks-new-audio-format-20120403#ixzz27A74hESq
Read more: http://www.rollingstone.com/music/news/neil-young-trademarks-new-audio-format-20120403#ixzz27A6gA6xU
Neil Young has a new "music system" coming oiut.... what does it mean?
Mp3s are awful. I flac when I can but I run out of room.
I have ER-1 mkII: Rhythm Synthesizer.
its like mz said, once you understand the korg electribe series layout, its pretty similar for all of em
starting from the bottom:
16 pads each representing 1/16th of a measure
two little buttons above and to the left to advance thru 4 bars of sequencing on the 16 pads
the buttons on the right above the 16 row are your different sounds
you hit a sound and then the 16 pads below light up to show you when that sound will play in the sequence
the knobs above the sound pads alter the pads' sounds in various ways. again whatever sound pad you pushed last will be affected by these knobs
there's a little transport button row with play, record mute and solo
the big wheel and menu matrix and led screen shows you stuff like which pattern you are on, what tempo you are on and other more advanced shit i can't remember. pattern length is one that you'll probably want to figure out how to get to
to start:
go to an empty pattern by scrolling thru them all and hitting play until when u hit play nothing plays
maybe this will be like C01 or D01 or B01 or some shit i cant remember
set a cool tempo. maybe 120?
hit the first sound pad, make a cool sound out of it by twisting the knobs above
then make a sequence of when that sound will play by pressing the pads of the corresonding 1/16th note you want it to hit on.
remember by default there is 4 bars, so once you punch in bar one, advance to bar 2 thru 4 and keep punching up when u want that sucker to play
hit play
there is a little red/green light that shows what bar the pattern is on
adjust pattern to your liking.
repeat with other sounds
hit mute+sound pad to mute that sound. do a cool break down. cool.
change the sounds as they are playing
record the changing of sounds while they are playing by hitting the record button while pattern is playing. this is called somethng like "MOTION SOMETHING SOMETHING"
and that's about it.
there;s some cool FX that you can apply to the sounds. decimator, echos, etc
can't remember if each sound has its own send to the FX or if the FX just fuck with the overall sound of the whole box
GROOVE BOX!
What if I want to start licensing the videos I take from youtube.