O’Reilly has published an article of mine on recording an album I produced in Nashville, working with digital audio tools such as Steinberg Nuendo–and great musicians. MP3 examples let you hear tracks in isolation, showing how they come together to form a mix.
Read it here…
Technology
Shirky: “50 Years Of Chaos” Ahead In Digital Media
“I am predicting 50 years of chaos,” says digital media thinker Clay Shirky. He’s been speaking at the TED (Technology, Entertainment and Design) Global conference in Oxford, UK. Story here.
Sounds about right, though I’d guess it could be 50 years worth of chaos crammed into as little as 10 years. Hey, it’ll be just like the ’90’s again.
Even though there’s a large constituency emerging for the blanket license model as advocated by the EFF, the big record labels, through the RIAA, will fight it for as long as they can. The idea looks efficient and clean on its surface: Let people stream and file-share to their hearts’ content in exchange for a surcharge on their ISP bill (or some other levy, such as on computer audio equipment), and allocate money by tracking popularity. But the major labels hate it because it would take away their control over collecting revenue and give it to a central bureaucracy similar to a performing rights organization, such as ASCAP, which to them looks like socialism. They also point out that there are other forms of media that would also have to be paid for: TV, movies, print, etc.
Given that the big labels control the greatest part of currently popular content, their resistance will continue to make a big difference until such time as someone can demonstrate the real world success of a better system. Free P2P is way more popular and growing faster than any pay distribution system, but record industry sales seem to have bounced off a bottom and are rising again – the claim that file-sharing doesn’t hurt sales cuts both ways. So, for the foreseeable future, it looks like a complicated, messy struggle in an ecosystem of alternative business models.
I Want Less And I’m Willing To Pay For It
Recently I wrote an article on Flow and musical instrument design, arguing that too many electronic musical instruments disrupt creative flow because their interfaces are poor and they emphasize features instead of user experience. It came out of work done by a brainstorming group at Project Bar-B-Q in the fall of 2004.
I used “flow” in the sense defined by Mihalyi Csikszentmihalyi in his studies of the thought processes of creative people. Although my article featured some fairly bitter complaints (don’t get me started again), I do think there are some hopeful signs out there that the future may be brighter.
One is Apple’s Garageband – not to be confused with garageband.com, which I wrote about recently and which I think is also cool. The rest is at O’Reilly.
Bungee Jumping With Technology
“When we try a new technology, the technology changes us. This pattern apparently goes back to the invention of agriculture, which led us to start living in cities (to store & trade crops), to invent writing (for tracking transactions) and… become accountants.
Using technology always carries the risk that the technology will make you more like it — think of how much subdivisions, highways and cubicle farms mirror the structure of industrial processes. But if, after diving into the technology, you can pull back, you may find that you can become more human…”
The rest is at O’Reilly.