Putting The Anal Back In Analog
Sorry I’ve been out of the loop. I’ve had an ongoing battle with pneumonia and bronchitis that hasn’t let up since Christmas.
I played the absolute worst recording session of my life a couple of weeks ago, with a guy who does a type of music unique to himself (in the Seattle area anyway.) It’s so unique in fact that, were I to mention even the genre to you, I would unmask myself before him and thereby ruin our relationship. (How’s that for some bush league, soap opera cloak and dagger!) But he’s about the nicest guy I can imagine and I actually like the genre he works in a bunch. Therefore, his identity shall forever remain a secret!
And yet, Dear Reader, I feel I must comment on his approach to music because it’s so, so, so… wrong.
He begins the recording process by creating very detailed mock ups of his music in a computer, using synthesizers as his sound sources. He makes sure that every nuance he wants played is electronically ‘recorded’. So far this is not at all unusual. Most every movie composer works that way these days—they create everything in the computer and then, if necessary, then print out notation for ‘real’ musicians to play the parts. This guy does something similar. But since he does not read music, he gives an MP3 of his songs to the ‘real’ players he hires and asks them to re-create what is on the sound files. But that’s where the similarity ends.
When a big shot Hollywood composer writes out a part for a cue, say bass, drum set or guitar, he rarely and I mean rarely notates much beyond the bare necessities. Why? Because it’s just a given that you’re hiring the player for their ‘humanity’—the special ‘zing’ that having a real player brings to the table that no ‘sample’ or synthesizer can duplicate. And I’m not talking about wild solos. I’m talking about the entire part. It’s normal to simply let the ‘non-orchestral’ players simply create their own parts. I’ve been given whole cues where the only ‘notation’ was
Why? Because a long time ago composers figured out that the average studio player can come up with something better than they can—after all, the average player has worked his/her entire life to know how to come with a cool groove and tasteful fills. All one really needs to do is wind them up and let them do what they do best.
Now what this guy does, however, is as I said, ask his players to re-create precisely what is on his MP3. Note for note. Inflection for inflection. In fact, during recording, he listens to his version of your part in one ear of his headphones and your playing in the other; to make sure they match precisely. If not? We do another take. Or he uses the magic of editing to cut/paste the part until it truly matches.
In addition to the life-sapping feeling of being literally ‘audited’ for correctness while recording, the fact that he consider his parts to be the ne plus ultra of parts makes one feel like an automaton.
Now, why does he pay good money for this rigamarole? Because the genre of music he does demands it. Or rather, his potential customers want to know that real people played on the record. It would be disastrous if customers thought that electronics were in use. (Lots of genres are like this. Not too many folk records are done on synths, right?) But whether or not it actually sounds ‘human’? Evidently, he could care less. He treats his songs as if they were scores by Schubert and they must be executed with that precision.
The closest I have ever come to this in mindset is the music of Raymond Scott. This was a tremendously creative guy who wrote great music in the thirties and forties. He wanted a very mechanical sound and he got it by rehearsing his players over and over to get that distinctly precise sound. You’ve heard his stuff in many, many cartoons and loved it in that context although he meant for it to be much, much more. So as soon as synthesizers became available in the fifties he started writing for them because that was the sound he had always wanted. In fact, he was so enamoured of the possibilities of creative control that he built many of his own devices in his machine shop! In other words, Scott was trying to get people to play more like machines. But then when machines came along that could do more of what he wanted? He started using those. Fair enough. He had no interest in a human sound so his approach makes perfect sense.
What my friend/contractor does, however, is quite the opposite. He takes music that should have real organic goodness, that he wants to have really humanity and tries to direct just the humanity he wants in every note. But in this pursuit of precision, he sucks the humanity right out of it. He treats his arrangements with a preciousness that would define hubris—if his work mattered to enough people, that is.
It feels like hiring organic farmers to run a machine that makes white bread—just so you could say ‘made by organic farmers!’ It’s a bit of a stretch just for that bit of marketing ‘truth’.
I used to believe that there was one true and ineffable rendition of a song; or orchestration of a piece of music; that constituted perfection. And once achieved, that version should then be left unchanged for eternity. I developed this idea in music school after seeing how hard Beethoven and Brahms struggled to get just the right version of even one movement of a string quartet. Now I know better. There can be many ‘alternate takes’ that are just as fulfilling and it’s a fool’s errand to try to choose one over the other based on what ‘posterity’ will think. There is no posterity; only what seems right at the time. If time validates that choice? That probably means you were good. If not? It means you shoulda been selling insurance. Oh well.
One thing I’ve re-learned from this experience is this: When you hire professionals to do any job? Let ‘em do their job. Not just because it’s the right thing to do, but because, you’ll likely end up with a lot better product.
Cloud Cuckoo Land
…with apologies to Aristophanes.
As I previously stated, I’m pretty sure that piracy will soon be a thing of the past. And that’s because the concept of ‘ownership’ will soon be a thing of the past. People will no longer need to steal music because they will get it all from ‘the cloud’. They will give up ownership in order to pay for convenience.
The question for me is how will artists get paid when this happens, because it sure as shit ain’t part of the business model now. There is also this whole fantasy world which is finally being questioned that states that artists will be able to derive all manner of revenue from this magical new cloud-based entertainment world. Every wannabee musician I know is amazed at the number of ‘options’ available to them for getting ‘streaming revenue’ for their work. That’s the cuckoo part of this whole cloud deal.
Here’s a quick bit of statistics courtesy of Billboard Magazine:
Here’s a quick overview: To generate revenue equal to the $1,160 per month (slightly over the U.S. Federal poverty line), an independent artist needs: 1,813 downloads per month at iTunes; 3,392 downloads per month at eMusic; 127,473 streams per month at Rhapsody; or 7,733,333 plays per month at Last.fm.
Here’s the problem: Rhapsody just lowered it’s rates to $10 per month. If you can explain to me how artists are going to get more money, when the services are charging less each month? Well, you’re either an investment counselor named ‘Bernie’ or trying to sell something like CDO’s to Section-8ers.
The model basically says, “Look, you got used to doing without money due to pirates so…?” What should happen is that rates reflect the revenue that artists got back in the good ol’ days (circa 2000) when men were men and…
Boy The Way Glenn Miller Played!
…As Archie Bunker used to croon. Back in the day, the average major label artist gleaned a whopping $1.65 per CD. I ranted about this way back in the good ol’ days!
Out of sixteen bucks of your hard-earned money the artist got less than 10%. Now, with the current on-line reimbursements, ten percent seems like gold. I call this The Ronald Reagan/Air Traffic Controller School Of Attitude Adjustment.
I Predict!
My guess is that artists today will be thrown a nice maggoty, disgusting, little bone by Google/MySpace/Rhapsody/Pandora/et. al once the subscriber base reaches critical mass. And artists will wolf it down like it was the blue plate special—simply because it’s better than holding their breath for 100k of plays per month in order to make the rent (in the aforementioned Section 8 housing; we are that gullible as a rule.)
So nothing much will change. We have returned to the historical norm for artists (pre-1960). Artists will look upon the forty or so years where one could make a real living from just the content and not patronage or constant touring are over. In effect, the return to this situation really is a return to “the good ol’ days”.
And anyone who talks of a world where musicians make money off the cloud? They’re the ones off in a cloud somewhere (probably selling server space.)








