Welcome to episode 15 of The Music Biz Weekly, a weekly podcast co-hosted by Michael Brandvold and Brian Thompson. Each week Michael and Brian will discuss the latest events in the music business and music marketing events and techniques. This week’s episode, July 8, 2011 – Thomas McAlevey CEO of Radical.FM
Music Think Tank Open
Anybody (no really anybody) can contribute anything relevant to this page…All mp3s should be posted on the MTT radio page. If you cannot find your post here, your article may have been moved to the MTT homepage.
Due to numerous comments, I realize some readers are missing the point of the post. Sure the title grabs your attention, but it is the substance of the article that further explains the thought process behind Call To Indie Artists: Stop Giving Your Music Away For Free. “Firstly, limit the amount of music you offer for free.”
In case you haven’t heard, there was huge news in the world of binaural audio this spring. Edgar Choueiri, head of Princeton University’s “3D Audio and Applied Acoustics” lab, announced breakthrough audio processing that solves crosstalk cancellation for binaural audio playback through two speakers.
“Great!” you’re probably thinking. “But what the heck is crosstalk cancellation?”
Ever feel that something is missing when you’re tracking vocals, guitar, or piano? Maybe the vocals sound dull on your mic-preamp or the high end of the acoustic guitar sounds brittle? While a mic preamp itself may give you a great representation of the actual sound of a vocalist or an instrumentalist, it isn’t always exactly what you want. It’s time to learn about channel strips.
An interesting proposition here, by Edward James Bass on thenextweb.com that tech companies might buy up bits of the music biz or even set up as labels themselves.
In a way, it’s already happening, but without the investment in artists. Perhaps they’re waiting for a successful model to appear which can then be sucked into their amoeba structure, (XL beware!) or perhaps the grand and evil plan is that, eventually, when all the artists have given up trying to make money from their recordings they will be able treat music in the same way they treat funny baby videos… a bit like they’re doing right now.
Of course, the music won’t stop. There will be a million copycat hobbyists for them to choose from (some of them adding music to the meals they prepare in the kitchens of their restaurants, along with pepper and cumen), plus a few thousand doomed and starving True Artists, still trying to push the boundaries in between searching the gutters for a crust.
Perhaps, if they are as wise as they seem to be, the tech companies might find a way to invest in the artists who provide the soundtracks to a billion web visits. Could they fund academies? Trust funds that provide bursaries (you need two references from a cool teacher)? Buy up Mean Fiddler? Or just become Apple Records - ‘bringing together the artists of today with the methods and media of tomorrow…’
As a musician it is highly recommended that you use 24 bit resolution in your digital audio workstation. This affords a number of real advantages and not just when processing the audio with plug in software. When you set your DAW to 24 bit you have allowed yourself to record at a much lower level without any technical detriment. The theoretical noise floor at 24 bit is significantly lower than that of a 16bit recording. This means that you can now record signals that peak at around -18dBFS. Thats sounds low but in fact this is equivalent to the electrical level that would have been understood as nominal in a large NEVE or SSL console i.e. 0Vu. In a digital system -18dBFS is referenced to +4dBu (1.23 volts), the same can be said of 0Vu. So there is no need to record at high recording levels when using 24 resolution. I think the confusion may have crept in for 2 reasons, we we recommended that hot signals were good at 16 bit and also the saying “hit zero” may have worked it’s way into the minds of musicians as a hang over from the days of large consoles and Vu metering.
The Music Virus isn’t some code out to destroy computers with James Blunt on their iTunes. The Music Virus is a moment / happening that every so often occurs in the music world. Irrespective of genre, decade, race, sex or rhythm or whether itʼs a group, a band or a solo artist; they are at the centre of a storm of words - the buzz of the industry.
It is a known fact that getting signed to a major record label doesn’t guarantee success for an artist, but the odds greater or lower vs. staying indie? Moses Avalon explores the “Vegas Odds” of the record deal.
Recently an article was posted to this site detailing how bands should prepare for their time in the studio. We thought it would be beneficial if we published a similar checklist for those doing the recording — the engineers!
Young talent, takes on a timeless tune: Zander Bleck sings Melody Blues "Nights In White Satin" (Hype Jones Remix)
“In a pop world dominated by hip hop and dance, Zander Bleck takes his inspiration from classic rock to serve up a fresh new sound. The singer’s forthcoming debut single “Temptation” clearly demonstrates his rock edge while also incorporating a pop-savvy, ready-radio melody and his emotive delivery that will have a mass appeal.” ArjanWrites
Despite the roots all three share as rich tributaries of great American music, there have been few instances in which country, jazz, and pop rock have successfully come together within one band. It just seems like an impossible fit: corralling Stetson-hatted cowboys, cool-blowing jazzmen, and funky rock players into a single cohesive project, one that seamlessly blends these very distinct styles. It seems impossible, that is, until you’ve heard Tricked Out Country.
Grooveshark, the fastest growing on-demand music service in the world, has partnered with Rocket Science, the premiere label services engine, to identify and provide support to artists who are having noteworthy success on the Grooveshark platform. Combining Grooveshark’s significant user base and promotional capabilities with Rocket Science’s storied history of music marketing, this collaboration is an attempt to provide a case study for artists who are looking for a non-traditional strategy to build their careers.
Check out this great opportunity to submit for a great cause! http://machinemanthemovie.com/song_contest.php
Get $10 off by entering MMKLJ at checkout!
Hi Music Think Tank, We are BBox Radio, a new community-powered platform and internet station broadcasting from NYC’s creative center: Brooklyn! Take a look at our Call for Entries — we’re asking everyone in and around the borough to help us reinvent radio! The idea is to create something new, expressive and decidedly LOCAL, yet global in reach. We hope you can help us spread the word! Visit BBoxRadio.com for more information and let us know if you have any questions. We’ll keep you tuned in. Love, BBox Radio