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May 2008

May 31, 2008

FROM BENJIE: Pump or Bump?

Music dollarWhat do you need more, music or gas?

That’s not a rhetorical question – I want your answer. I’m part of a group of artists and business owners that meets in downtown Aurora once a month to talk about how we can build and encourage the arts in our community. By the time an hour’s gone, we’re dreaming up everything from new city festivals to bus-stop decoration contests to projecting laser lights on every wall in town. And then, after a while, somebody brings us back to earth.

Here’s how the question came last month: Our nation isn’t doing too great economically. In fact, our whole planet’s got big issues. The price of almost everything is going up. Do we really expect people to pay for something as unnecessary as art?

Good question. Since our focus here is music, I’ll make it even simpler – and more difficult. What’s music worth these days?

Of all the art forms, music’s currently the easiest to duplicate and hand out to your friends. That’s had the music industry in trouble for some time, of course. The Internet has introduced a whole new way of finding and experiencing music. And, like the rising price of oil, it’s driving people to re-think some things we previously took for granted. Should people pay for what they can get free?

There are arguments on either side. Start with the cost: It costs an artist something to make music, both emotionally and financially. In the case of recorded music, that cost has decreased dramatically with new technology – but it’s never going to go away. Live music costs something, too – venues have overhead, promoters have promotional expense, and bands spend weeks away from home – and hundreds of dollars to gas up the van – to make tours happen. If it costs something to make music happen, the argument goes, then the people who do so to be compensated.

But there are other factors that drive price – like supply and demand. One reason you’re paying four-plus dollars at the pump is that the world has a limited supply of oil, and the demand just keeps increasing. Music, on the other hand, would seem to be more plentiful than ever. Got a copy of a rare old album? Rip it to my hard drive and I’ll burn you CD copies all day long for next to nothing. Don’t like those songs? MySpace has literally millions of bands who’ll play you their tracks at the click of a button. We used to have one Elvis – now we have impersonators, almost too many of them to count. Music has no shortage on the supply side.

And how about demand? Ah, that’s the question. Unless you own a farm and grow your own food, you need oil to live – it fuels the trucks that bring your groceries to the store. Our nation’s currently addicted to it. But do we need music? Can we live without it?

What do you think? What’s it worth?

May 30, 2008

TIPS AND TOOLS: Step by Step

If you’re new to the recording process – or if you’d like a glimpse into the evolution of a recording – you’ll want to swing by our recently-updated MySpace page. The third track posted there, “The Production Process,” is a guided tour through the life of a song at Backthird Audio. We play you samples of the same piece, from first tracks to final master, with brief explanations of what happens along the way. Think of it as time-lapse photography for your ears.

 

The Production Process” is one of three new tracks on the studio page – we’ve also added a general introduction and a new demo reel. Props go to Backthird interns Sean Doty and Joe Levon for their fastidious editing work; those tracks wouldn’t have happened without them.

May 21, 2008

IN THE STUDIO: The Guild

IMG_0179 Be pleasant – that’s one of the big career lessons we learned from Frank Pappallardo Monday night at the Guild. As lead engineer at HD Ready in St. Charles, Frank records and mixes Soundstage for PBS – meaning he’s tracked and mixed (and tuned and tweaked and edited) everyone from Yes (yes!) to Fountains of Wayne (no!).

From running cable through a field to track Dave Matthews at Red Rocks to sitting across the table from his hero Robert Plant for the first time, Frank treated us to all sorts of stories and answered all sorts of our questions about working on Soundstage. We also got the lowdown on mixing in surround and heard Frank's Top 10 list of things for every budding engineer to know. A lot of them boiled down to acting – and smelling – like a decent dude.

“You have to be easy to be around,” Frank told us. “I’m Mr. No Problem. I’m like, you want me to stand on my head while I mix this? Great, I’ll stand on my head.”

As always, the Guild kicked off – and ended – with a healthy dose of drinks and conversation. But the highlight for me was talking music – and filters, compressors and mobile recording rigs – with a true pro. If you missed it, you missed a good time. You can see the pictures here.

Next month at the Guild: our first-ever guitar pull. We’ve been getting together now for six months without anyone playing a single note – it’s time to change that. Watch the mailing list (there’s a signup box on the top-right of this page!) for details.

May 06, 2008

FROM BENJIE: Hands in the air

Dj_kool Darlene_zschech

You don’t have to be a Highlights Magazine alum to spot 5 similarities between these two CD covers. The first is from the maxi-single “Let Me Clear My Throat,” a 1996 party track from Philadelphia rapper DJ Kool. “Throat” is notable for having the most shout-outs ever recorded in a single rap song, and at the right shin-dig it’s still known to pack a dance floor – though unless you’ve been reading your liner notes extremely carefully, you probably haven’t heard a peep out of DJ Kool since then.

The second photo’s an example of “Contemporary Christian” worship, a movement which, coincidentally, peaked about the same time DJ Kool’s career did – though it’s certainly outlasted him. This cover features Darlene Zschech, a music leader at Hillsong church in Australia – but I think it’s fair to say that at least half the projects in this genre have a photo like this somewhere in the liner notes. Darlene’s shout-outs are to J.C., while Kool’s are to Ice T – but the similarities are striking.

They’re both surrounded by a Happy Mob. They’ve both got hands raised high, palms open in what seems to be the universal signal for “woo hoo.” They’ve both got their eyes shut tight.

In short, they’re both completely in the moment. Kool and Darlene are both caught up in a single thought (“woo hoo!”). There’s nothing else.

Music works that way – it’s an art form that’s tied up inseparably with time. We measure grooves in beats per minute. Even pitch is just a function of vibrations over time – you get your violin string to wiggle 440 times per second, and you’ve played an A. Without seconds, though, there is no music. You can’t take a snapshot of a song. You have to let it unfold over time.

When you do that – when you set three minutes of your life aside and give them to a song – a curious thing can happen. You can find that you’re not somewhere else. You’re where you are. You’re centered. Groove and pitch provide an opportunity to put your helter-skelter life aside, suspend your worrying about your boss and your bills – and grab the moment as it passes. Every snare-drum whack is an instant, an opportunity to be focused on one single thing.

Woo hoo!

May 04, 2008

The Guild: Sound for Television

I didn't want to wait to tell you about this month's Guild meeting. For one thing, we'll be meeting a week earlier than usual to avoid the Memorial Day weekend. For another, we'll be joined by Frank Pappalardo of HD Ready in St. Charles. Frank mixes Soundstage for PBS and is something of a guru on mixing in surround - so I'm sure he'll have plenty to tell us. Be there!

Tv_note when:   7:30pm Monday, May 19
where:
Backthird Audio (map)                   
who:   artists, producers, promoters and anyone else who "does" music
what:
eating, drinking,  talking
but especially:
Sound for Television
and presumably: the Decision Box

May 01, 2008

IN THE STUDIO: The Guild

Img_0155_2 "The first time I saw Monet was on an iPod," Scott Woods announced at Monday's Guild meeting - and we were off and running. After the usual socializing, we sat down, turned the volume up and took a "blind" listen of three very different tracks - a dark rock tune, a passionate hip-hop piece and a European/North African/Arab fusion project. I would've played more, but the discussion got so passionate on those three alone that there just wasn't time.

Our responses to the music we heard led us to conversations on the benefits - or disruptions - of music technology, our differing definitions of "the song" and its structure, and the tricky distinction between "creating" music and "sampling" it. Of course, our ruminations on technology also led us to a great new record label name: Plop 'n' Polish. You read it here first.

Mark your calendars now for next month's meeting, coming in only three weeks - 7:30pm on Monday, May 19. We'll be joined by Frank Pappalardo, who mixes Soundstage for PBS. Frank will have plenty to say about mixing for television, and we may just talk him into sharing some clips with us as well.

Click here for photos from Monday's meeting, or here for the results of our Decision Box survey. If you'd like to track down the tracks we discussed and explore them for yourself, they were:

"Broken" from the album "Precious" by Ours

"Broken Wings" from the album "Personal Journals" by Sage Francis

"Lamma Bada" from the album "Rumba Argelina" by Radio Terifa

DECISION BOX: Multiple Guess

From Monday's Guild meeting:

1. I write songs:
without an instrument - 41%
on guitar - 30%
on piano - 24%
on a drum machine or computer - 24%
I don't write songs - 24%

2. What do you buy? (one only)
CD - 76%
mp3/digital - 24%
vinyl - 0%

3. What do you use most? (one only)
mp3/digital - 53%
CD - 47%
vinyl - 0%

4. What do you like best? (one only)
CD - 64%
mp3/digital - 29%
vinyl - 7%

5. All the good music was made:
in the '70s - 25%
in 1969 - 13%
in the '30s and '40s - 13%
in spandex - 6%
between '62 and '76 (write-in) - 6%
between '65 and '69 (write-in) - 6%
in the British Invasion (write-in) - 6%
in backwoods barns (write-in) - 6%
"other" (write-in) - 6%
all of the above (write-in) - 6%

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