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electrow

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  1. Thank you for writing on the subject of new music exposure. To me, and obviously others, it's integral to the creative process. My thinking and personal realization is the polar opposite of yours. I have found on line radio stations and zines to be the best sources for discovering "new" music - course a definition of new is going to vary according to what one is seeking. I have found exposure to new music seems to happen more often than not through programming presented by an enthusiast (radio dj) rather than some engineered algorithm (Pandora, Google). In fact I would contend that the dominant online listening venues actually stifle the opportunity to hear something truly different since the algorithms' are design to feed us music base upon our selective habits. I've tried many times to get Pandora to play music based upon a particular mood, for instance, with no success. As a friend once said “all these online music machines have their top 40 - only it's their idea of your top 40..." What do we get from some "radio Station" with a human making each selection? Well if it's a true music lover of the new we get their enthusiastic choices. Their playing music which has some meaning, value if you will, to them. Since I'm looking for "new" exposure I like programming that's all over the map. You aren't going to find that on Pandora, iTunes, YouTube, etc. I mean how does some technocrat program that into an algorithm? Sometimes a lot of what I hear I don't care for on these human controlled “stationsâ€. . But isn't that what should be expected in the pursuit of the "new"? Miles Davis when asked about his approach to music said he was just a synthesizer. That is he was simply combining various elements of today's & the past music genres. In order to do that one has to be willing to be exposed to different kinds of sound. Here are just two quickly chosen examples which can't be matched in any way by the present engineered on-line programming: Radio: the BBC Radio 3 - Late Junction ( http://www.bbc.co.uk/programmes/b006tp52) And for a zine: The Quietus ( http://thequietus.com/) Thanks again for writing this and advocating for the "new" however one defines it.
  2. Would LOVE to have 4.84 Mb/s! Ours is 1.5Mb/s and my wife watches Netflix when she's lucky. :-)
  3. this: [h=2]How Does Live Music Industry Revenue Compare to Recorded Music?[/h] Recent data and projections for the next few years have shown an upturn in music industry revenue as a whole for the first time since the advent of digital downloads. Much of this increase has come from rapid growth in streaming services revenue. But revenue from live performances and tours has been consistently growing for years now. According to Midia Research, the live music industry accounted for 33 percent of overall industry revenue in 2000, compared to 53 percent attributed to retail recorded music. By 2016 that number shifted dramatically — live music garnering 43 percent as opposed to recorded music's dwindling 38 percent. Moreover, Midia reported that 59 percent of an artist's annual revenue came from live performances, compared to 9 percent in music sales. The effects of this shift can be seen in most artists and bands turning to concert tours as their primary source of income. Where performances were once a vehicle for increasing record sales, they are now a driving force for the music industry as a whole, providing substantial income for artists and entertainment industry professionals alike.
  4. I like to think vinyl is a minor rebellion against digital convenience and the expedience of give- it- to- me- now by a younger generation. Perhaps it is a passing fad. Even so it isn't hard to sense the subconscious desire to slow down the digital onslaught. (http://www.latimes.com/opinion/op-ed/la-oe-sax-analog-nostalgia-20160103-story.html )
  5. Thanks for posting this. So much said in 8 paragraphs.......................................
  6. Not directly music related but music of the place he was at was part of his shows. A unique take on food culture but most of all he had a non judgmental way of approaching people and an openness to really listening. Most of all being in the world of media he seemed real and down to earth.
  7. As has been said it is always true , if it's free you are the product. Number One: data collection & use - read their privacy policy Number Two (maybe) this - which I have no idea what it means: MUSIC RIGHTS: WITH BANDLAB Music rights are drawn and conceptualised based on the workflow processes we’ve described above, but with technology giving us new possibilities each day, new ways of creating and sharing music are made increasingly available. In BandLab, we pride ourselves on the spontaneity that encourages creation and collaboration. A creation is composed and performed at the same time, while collaborators are invited to adapt, revise, and improvise any way they know how. Instead of traditionally having one Music Work springing up many Sound Recordings, and then linking them to their respective performers, BandLab’s workflow is essentially flipped. Each Revision of a track with added track layers or collaborators becomes a Music Work in its own right, linking to the composers and performers who have a contributor. Each Revision then has the potential to become one Sound Recording. As a user of BandLab, knowing how music rights function in the rest of the world will come in handy. In the event that you, along with your collaborators, would like to commercialise any of your Music Work, a basic understanding of these rights would generate healthy conversations.
  8. No surprise. I'm in the 10 percent (USA) population group who will be left out of any future transition due to bandwidth. Link is fixed (different site)
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