The music and artwork is now finished for my next album Joyless Pleasure. I would like to send out pre-release copies to get reviews in magazines and important websites. I actually think normal people/fan reviews carry more weight but this is the first step. I have two questions to Wire to the Ear readers. 1. What’s the best way today to go about this? 2. Do you have any specific recommendations of places I should try and get the album reviewed? If you have any specific contacts at a media outlet that would be a bonus as sending music off into the abyss makes me cranky.
The tech industry is going to finally let us store our own music in the cloud. We can then listen on our mobile and web devices from anywhere. Amazon is first out the gate with it’s Cloud Drive and Player. Google and Apple will surely soon follow. Here’s some thoughts. I hope it’s easy to get my massive music collection online. I will be glad to have my collection anywhere I can log-in to the net. I’m glad my music collection will be backed up online. I hope it works over 3g or it’s useless. I wonder if any of these services will allow me to embed a player and share my music. If they do I wonder if it will have massive implications for SoundCloud. I hope there will be some interesting APIs spurring some innovative Apps that use your online locker. Ho hum another bill.
“Amazon’s easy uploading process makes it simple for customers to save their music library to their Cloud Drive. Files can be stored in AAC or MP3 formats and will be uploaded to Cloud Drive in the original bit rate. Customers can hand-pick particular songs, artists, albums or playlists to upload or simply upload their entire music library.” – Amazon.com
Last night I had some time to hook up SoundPrism Pro (iTunes link) to Ableton Live via the Camera Connection Kit and a small M-Audio MIDI interface I had lying around. I am very pleased that it worked easily and the results are wonderful. I was able to record all the pretty chord and bass selections SoundPrism spit out. It took less than a few minutes to create verse and chorus melodies that work together. In this quick demo I used some free Roland TR-808 samples and a software Korg Wavestation through D16′s Devastor distortion. Truly inspirational.
“It’s like getting a futuristic keyboard in the present.” – Lee Kaczor (iTunes review)
Native Instruments have teamed up with Berlin based electronic musicians Errorsmith and created a new software synthesizer called Razor. Besides the wobbling sound you can hear in the video above it has a nifty animated graphic display that lead Chris Randal to post on Twitter, “Man, the UI on NI Razor is really fucking nice. #jealous #gonnastealthatstyle #watchme”. I personally haven’t been touching software synths that much lately but this NI promo is cool enough to make me want to try Razor out. More discussion about Razor: kvraudio
“Razor is a synthesizer i developed in collaboration with Native Instruments. It’s programmed in Reaktor, a modular software synthesizer. You don’t need to own Reaktor in order to use it. Razor can be loaded in the free Reaktor Player software.” – razor.errorsmith.de
There’s no experience like moving through your teenage years. It’s amazing how strong, crazy and risk taking you can get. This video is a good reminder.
“YOUR LIFE IS ON FIRE. NO CLOUD MAY HARM YOU IN THE HEAVENS YOU ARE IN. NO FROST MAY BURN YOUR HARVEST THAT YOU HAVE NOT BROUGHT IN. NO RAT CAN BITE YOU, IN THE DEEPEST OF ALL SLEEPS. THE FIRE IS INSIDE OF YOU. TRUELY, THE FIRE INSIDE OF YOU!” – bitteschön.tv
Perth Australian band The Gizzards get on television rocking a NES Guitar and other bent toys. Their facebook page stats the bands influences are, “Sheds, pools, cats and casios.”. I was wondering if they would make a worthy blog post then I saw his cape: posted!
“The Gizzards performed on WTV’s FNL (Friday Night Live) show.” – ohmissjane
80′s awesome wonderful! In England in the summertime…
“Introducing the Fairlight App for iPhone & iPad, available from the Apple App Store in March 2011. Over 30 years since the original Fairlight CMI first changed the way we make music, we are proud to present the iPhone & iPad Apps, giving you the experience of a CMI Series IIx in the palm of your hand, complete with the full Series IIx factory library and expandable to include the best of the Series III library and even your own samples. Marvel at the then revolutionary Page R step sequencer, gasp at the three dimensional waveforms in Page D and bask in the wonder of some of the most famous sounds of the Eighties! The sound track of this video is also one of the app’s built-in demos. ‘Octagonalle’ was created using original Series II library sounds on the Fairlight iPad app by producer/composer Justin Shave. Shave confronted his first CMI in 2006 when he co-produced Darren Hayes’ album “This Delicate Thing We’ve Made.” Darren had decided that the Fairlight was the only instrument which could deliver the ’80s sensibility he was seeking, bought one on eBay, and handed it to Shave to tame. The rest is history.” – FairlightInstruments
Now that I’ve finished my album I am putting together the same album full of remixes. Instead of paying 20 people to do remixes for me I am trading a remix of my own for one of theirs. This serves three purposes. I don’t have to shell out a bunch of cash. It forces me to work on material that’s not my own which I find a challenge. Lastly, every remix I do for someone else gets promoted by that artist therefore extending my own name into the world. I know this is obvious but maybe this post will trigger you to go trade with your friends, fans and if your lucky music heros. This weekend I am finishing remixes for Haujobb and Steinkind. See how they just got some free press?
“A remixer uses audio mixing to compose an alternate master recording of a song, adding or subtracting elements, or simply changing the equalization, dynamics, pitch, tempo, playing time, or almost any other aspect of the various musical components. Some remixes involve substantial changes to the arrangement of a recorded work, but many are harmonic, such as creating a “vocal up” version of an album cut that emphasizes the lead singer’s voice.” – Wikipedia