Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - LNerell

Pages: 1 ... 27 28 [29] 30 31 ... 40
561
Everything and Nothing / Re: Help the podcast N00b
« on: June 10, 2009, 08:26:32 AM »
Audio-mavens... Right now my podcast is kind of piggish, size-wise. My 90 minute cast is 85MB in size. By contrast, Ultima Thule's 'cast of the same length is half the size (about 38MB).

I have to say I find Ultima Thule's podcasts unlistenable because of the low bit rate they use, they sound very harsh to my ears. I say offer both a high bit rate and a low-res version for people who use dial up. After a month or so you will see what your audience prefers.

562
Everything and Nothing / Re: Happy (and relieved) to be alive
« on: June 09, 2009, 11:59:26 AM »
Maybe my true mission in life is to put out more albums.

That's the ticket! May Phantoms be the first in a new and continuing volley of new music!

I'll second that.  8)

563
Everything and Nothing / Re: Happy (and relieved) to be alive
« on: June 08, 2009, 09:47:07 AM »
The timing of my hospitalization was really lousy (two weeks into a new job), but my new employer is very supportive and am grateful for that.

The timing may have sucked for your job, but it sounds like it was perfect timing for you in that you caught it in time before any major damage was done. I'm glad to hear that you are back on your feet and doing so well, just in time for your new release.  :)

564
Other Ambient (and related) Music / Re: Loren Nerell's upcoming..
« on: June 08, 2009, 09:36:59 AM »
Yep, all true and more. Terraform is being re-released on Projekt, probably this summer. This time in a regular jewel case and not the expanded DVD style packaging.

The new full length is not entirely new, its going to be an expanded version of The Venerable Dark Cloud. It will have all the original tracks from the original Amplexus release but with three out takes from the original session and three new tracks. In total it will be about three times the length of the original mini CD.  The newer tracks will be intertwined with the old ones, for one long continuous play much like the original release, and will be mastered by Steve Roach probably this summer if all goes according to plan.

I also have a nearly completed 60+ minute drone piece that just needs a few touch ups. The label that was going to release it sort of went away on an extended leave, so I'm looking for a label for that one if anyone is interested . . . .

Also the disc with A Produce is still in the works and is making slow progress. Barry and I got together just yesterday for the first time in about two months and did a bit of work on one track. We are probably a couple tracks away from completing that one, of course we then have to mix and master it.

565
Perhaps once BC is logged and mined flat and the salmon are gone, our ambient scene will pick up steam! ;)

Well if you don't want to wait you could move to Northern Alberta and find inspiration in the Athabasca Tar Sands.  ;D

566
Music Gearheads Tech Talk / Re: Best way to organize studio layout
« on: May 12, 2009, 09:34:10 AM »
the bad thing is that I have a Tascam FW-1082 control surface and I am afraid that if I used one of those keyboard slide out trays, it won't hold the weight of this thing and go crashing right into my keyboard:).......

That tray is pretty heavy duty, its not  like a keyboard tray on a cheap computer desk. It should easily hold your 14 pound Tascam controller with no trouble. My concern would be is the tray long enough to hold both your controller and keyboard.

567
Music Gearheads Tech Talk / Re: Best way to organize studio layout
« on: May 11, 2009, 09:32:30 AM »
Here's a cheaper alternative, I was using one of these up till a couple of months ago:

http://www.omnirax.com/index.php/DisplayProduct/0-35

You can find them pretty cheap on the used market, I think I paid $200 for mine when I got it. Speaking of which here is mine as it was, its now sitting in my garage waiting for me to figure out what I want to do with it.


568
Everything and Nothing / Re: Downloading Music and Rights
« on: May 06, 2009, 09:16:53 AM »
You seem to be assuming that all downloads are from people who would not buy a CD in the first place. If this was the case then CD sales would not have tanked like they have with the introduction of high quality downloads. There is enough empirical evidence to indicate there is a connection between the two. As a personal example, when Terraform was released on CD the sales were much lower then expected based upon previous sales of my own releases and Steve Roach's normal sales for a new release. We found shortly after the album was released that someone had made high quality mp3s (320kps) of the tracks, had scanned all the artwork including the front cover, inside foldout, the extra postcards, and the CD itself. All were then zipped into a file and uploaded to a bittorrent site. This was the first case any of us has encountered of this kind. You could argue that no one was interested so they didn't buy the CD, well thousands of people were interested enough to at least download it. I won't argue that all of those thousands of download were potential sales, but sales have been so low that the label has yet to recoup its costs, and this has made it difficult for me now to release any new material.

I just wanted to add a postmortem to this thread as related to my quote above. I got an email last night from my label informing me that Terraform is now out-of-print for the reasons I stated above and it will not be repressed.  :'(

569
After my two years of going through the job wringer I'm finally coming out on the other side in a better position. For the past year I've been working at UCLA as a part-time recording technician, when I started their were four of us. As of now we are down to two, but my position has become full-time due to me taking on the work load of the other techs who were laid off or retired. I am also now in charge of facilities for the school of music, and if I can make it through and prove myself then I should be getting a raise, it will have to be a big one as the facilities work is an MSO position.

As for budget, they have pretty much cut staff to a minimum, next on the block are various performance ensembles which will be cut from the next school year, including my beloved gamelan. Interestingly they will be offering more summer classes as they tend to be more of a money maker for the departments.

570
I would say this is more like a collection of tracks than a cohesive, flowing thing.

That's because it is a collection of tracks, they were tracks that Ruben sent to Barry over time. Barry suggested that they might make a decent CD release. If I remember "My Minimalist Life" was a live improve, not composed which is why its probably a bit too long. Barry is aware of the problem with sticker labels. He's thinking about investing in a CD printer but it may be a while before he has the funds to do that.

571
No they are two very different people. BTW Ruben lives in New Mexico at the moment.

Of course, those "in the know" realize that New Mexico and LA are the same place! ;)

Come on now, LA sprawl hasn't gotten that bad.  ;D

572
Everything and Nothing / Re: Podcasts and compensation
« on: April 29, 2009, 09:11:55 AM »
Thanks Brian for the link to Rusty's blog, I haven't seen it before. After reading the first page of his blog it seems his main beef is with SoundExchange which is a royalty collection group set up by the RIAA and which is very aggressive. He never once mentioned BMI or ASCAP so I assume that they are not a problem for him.

573
Everything and Nothing / Re: Podcasts and compensation
« on: April 28, 2009, 09:31:06 AM »
"Forced" is not what I was told. What do you consider a high fee for them? I don't think they are focusing on netlabels more then before, right now as I type this they are playing Vidna Obmana and most of their current playlist seems to be similar. I was in a meeting with an ASCAP representative last week and she said they don't force anyone to join and fees are negotiable. She said the only person they have taken to court in the last 20 years was the owner of a bar in New York.

Back to the topic at hand, I wouldn't worry about fees right now, podcasts are sort of a gray area, and its always good to have another avenue for ambient music to get heard.

I forgot to mention the ASCAP rep said broadcasters pay a flat fee, so playing more non-represented artists don't save them any money.

574
No they are two very different people. BTW Ruben lives in New Mexico at the moment.

575
Everything and Nothing / Re: Podcasts and compensation
« on: April 28, 2009, 08:32:59 AM »
Ultima Thule is actually a radio broadcast so the radio station probably has a license to broadcast copy written material. Some internet radio stations like SomaFM have also gotten licenses with BMI and ASCAP, others have not. HOS is an interesting case, I was told that they put aside a sum of money into a trust, which at some point in the future will pay artist they have broadcast from their podcast. When this will start is anyone's guess. I would think that small time podcasts would be outside of most of this.

576
Everything and Nothing / Re: Downloading Music and Rights
« on: April 23, 2009, 09:18:05 AM »
Hmmm, so if I lose the original copy or it's stolen, or wears out, then I have to erase the shifted copy?  Guess so...

Good point, I have no idea. Lots of gray area here.

577
Everything and Nothing / Re: Downloading Music and Rights
« on: April 22, 2009, 06:00:40 PM »
Very interesting. I guess that makes sense on a strict legal /copyright level. It somehow seems weird though. It feels (there is that word again) as if one should own the data for oneself if one legitimately purchases an album, even after the hard copy is subsequently sold.

If you don't like the CD enough to keep then why would you want a copy of it? ??? From my understanding when you purchase a CD and you make a copy of it to another format you are media shifting, which is legal. The idea is you make a copy so you can play it in the car or your ipod. If you then sell the CD or vinyl, or cassette, then you are not entitled to have that shifted copy of it because you no longer have the original media.

578
Everything and Nothing / Re: Downloading Music and Rights
« on: April 22, 2009, 02:53:31 PM »

it is now cheaper then ever to create your own music, since the digital studio almost everyone can afford and home studio. People like me can't afford nothing, no cds at all almost, and no software. So in my case I would not be able to record any music at all if it wasn't for piracy.

You contradict yourself here, you say its so cheap but then claim that you can't pay for it so the only way to get it is to steal it, there is another alternative. When I was your age (I am assuming you are in your early 20s) I also could not afford all most anything, CDs, musical instruments, etc. So what did I do? I took classes at the local school to learn and use the instruments they had. I went to our local library to listen to music that I couldn't afford. Finally I did what many others have done, I got a job to buy the gear with money for said job. You obviously had some money as you have a computer to run the software on. If you continue to steal software and not pay for it then myself and others who do pay for it will have to pay more for our software in the future to make up for your selfishness. Or, the software might come with some form of dongle device (like a big hardware box) that requires it to work. In other words you'll have to buy hardware again like I had to when I was your age.


And when we are talking about pirate copies and financial losses, it is very important to clearly we are talking about an POTENTIAL loss,

You seem to be assuming that all downloads are from people who would not buy a CD in the first place. If this was the case then CD sales would not have tanked like they have with the introduction of high quality downloads. There is enough empirical evidence to indicate there is a connection between the two. As a personal example, when Terraform was released on CD the sales were much lower then expected based upon previous sales of my own releases and Steve Roach's normal sales for a new release. We found shortly after the album was released that someone had made high quality mp3s (320kps) of the tracks, had scanned all the artwork including the front cover, inside foldout, the extra postcards, and the CD itself. All were then zipped into a file and uploaded to a bittorrent site. This was the first case any of us has encountered of this kind. You could argue that no one was interested so they didn't buy the CD, well thousands of people were interested enough to at least download it. I won't argue that all of those thousands of download were potential sales, but sales have been so low that the label has yet to recoup its costs, and this has made it difficult for me now to release any new material.


I have tried to explain to you that to live and survive on making independent music is very hard and for 99,9% only a dream.

Itís always been hard but that's no excuse for being selfish and making it harder then it needs to be. Downloading at artists music and not paying for it turns that dream into a nightmare.


I have not interest to support labels in the future, we need to get rid of this middle hand, since the money gets in the wrong pocket, the artist is the one who should get the most part of the profit.


I think getting rid of labels is a bad idea, not all labels are bad. Good labels work with the artist, they provide services that help them and work more as an artist collective then a monolithic machine. One thing they can provide is a cheaper way of producing product. If they come to a replicator with several projects they can get a cheaper rate. If they have several artists they can get better distribution, etc. I think the irony of this whole free download thing is itís made the large labels even bigger. They have slowly bought each other out to the point their are only 2 or 3 big labels which in the long run has hurt music with less competition. Less competition means less chance for interesting music to be heard. Its also forced the large labels into a corner like posture, which has fueled the whole attack on p2p sights. I think the piratebay people are seeing this first hand.


We have about 15% unemployment in Sweden, but that is already changing, since the young generation do not want to work at all, they all want to live in freedom.

Freedom to daydream all day long, to daydream about all the great art they could make if they weren't too busy daydreaming.


However, as I said, unless you have talent like Roach and do not own your own label, these is no way you can survive on cd sells, that is the reality. Some pocket money from cd sells will not help. If you have your own label and release many cds

Just so you know Steve's label is actually a joint project with Projekt Records for many of the reasons I stated above.


I advocate copyright, in the sense that if a person have done something he or she should be associated with the work and no on else, I see this is an fundamental right and important. This protection is important since it gives you the right to own the rights to your work.

If you believe this then you should allow the artist to control how they wish to have their art consumed. If artists wanted to have their music downloaded freely then their is nothing stopping them from putting it up on a website and letting any one download as they wish. Since most artist don't do this, or do this on a limited basis then they have made a choice that they do not wish to have unlimited access at such a high level.


I would rather see something like PROUT http://www.prout.net/ in the future, http://www.thevenusproject.com/ have a lot of interesting ideas as well

In my youth I had a great interest in utopian societies, I've read quite a few books on all kinds of utopias (including a few distopias), had endless debates, some friends and I even considered the possibility of starting a small commune. I should also point out that I am not a strong believer in that capitalism is the best of all worlds and am open to the possibility that their maybe something better. Having said that most of the utopian projects that are currently out there will probably never see the real light of day in our lifetimes. They are at best --  like the Venus project -- centuries away from even a remote possibility of reality. So I think its very unfair to us musicians (who make the most affordable of all the arts) to have to bare the burden of dragging everyone into these utopian dream worlds. Its not going to happen in one little corner, itís going have to happen in a broader forum.

579
To me its probably the best thing he has done. Having said that, I just heard from Barry that the copies that Hypnos and CD Baby currently have will probably be the only ones offered for sale.  :o So, if this artist interests you I would suggest you get your copy ASAP.

http://cdbaby.com/cd/rgarcia2

580
Everything and Nothing / Re: Downloading Music and Rights
« on: April 19, 2009, 06:21:11 PM »

Sure the production is a physical process, however what you buy is the experience...
But With your logic , if I buy an Steve Roach album I should also pay for his studio equipment and his time ?
If I buy an album I would in that case need to know how many hours he have spent to create the "product" and what studio equipment (ingredients) he have used
to create the final form otherwise how should I determine it's financial value ???
And how much is his time really worth ?

For Terraform it was about 15 days of work, about 10 hours a day, so that comes to 150 hours. At the bargin basement price of lets say $50 an hour for studio time that would come to $3000. You can send me that amount as a check or via my paypal account, I'll make sure to give Steve his half the next time I see him.  ;D

But as I said, I do not agree with your statement, that artists release less music because of internet.  Look at Robert Rich for example he did just release an 8CD live archive.

You still have to buy them.

Pages: 1 ... 27 28 [29] 30 31 ... 40