Archive for the 'Technology' Category

CD Turns 26 and It Still Won’t Die

• Wednesday, August 20th, 2008

Another birthday for the CD has come and gone and yet the damn things just won’t die. On Aug. 17th, 1982, the Compact Disc was born into an age of rampant consumerism that was the 1980s. Big hair was in, big vinyl and the big snarls of tape from cassettes was out.

Full Article:
CD Turns 26 and It Still Won’t Die | Maximum PC

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5 Legendary Keyboards (and the songs they made famous)

• Monday, August 4th, 2008

These days, there’s no distinguishing one keyboard from the next because all they really do is act as computer trigger devices. But in the 60s, 70s, 80s, and even the early 90s, keyboards and their manufacturers were known for signature sounds. Here are five of my favorites:

Full Article:
mental_floss Blog » 5 Legendary Keyboards (and the songs they made famous)

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Analog to Digital Transfers - John Hartford, Del McCoury Band, and John Anderson…

• Monday, July 28th, 2008
Analog to Digital Transfers - John Hartford, Del McCoury Band, and John Anderson...

July has been a busy month for transferring old recordings to Pro Tools.  The sooner the better with these old tapes… if you wait too long they have to be baked due to excessive oxide shedding.  Creative Caffeine is one of the few studios setup to transfer 24 track analog tapes straight into Pro Tools HD with pristine Apogee converters.

Early this month John Mills transferred a number of 24 track tapes to Pro Tools for the highly respected John Anderson.  Chief engineer Collin Peterson has been working with Dave Shipley to transfer recordings for the Del McCoury Band, some of which may be featured on an upcoming release,  as well has some early recordings from John Hartford,  some of which featuring the Aereoplane band with Tut Taylor, Norman Blake, and Randy Scruggs!  Most of the McCoury tapes were 16 track 2″ recorded at Ricky Skaggs’ studio in Hendersonville. We were able to rent a 16 track head for our JH-24 and make that option available to clients at an extra charge.

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Kandace Springs Jazz Trio - John Brandt “Previs” Wood Microphone Demonstration

• Monday, July 21st, 2008
Kandace Springs Jazz Trio - John Brandt

After finishing up a 2 day experimental demonstration session showcasing the new Brandt “Previs” microphones we have much to talk about.  Vince from Brandt Audio Devices made the trip down from Michigan and arrived at 5:30am the day of tracking… YIKES!!! I don’t know how he stayed awake.

We started off with a jazz trio led by the incredibly talented pianist/vocalist/songwriter Kandace Springs.  Using only the previs mics, we were able to capture a very open, natural sound that lent itself very well to her style.

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Let’s start with Kandace… we set her up on our Yamaha C-7 and placed 2 microphones on the piano, approx. 18-24 inches away, one on the highs and one towards the lower end.  This yielded a very open sound, but wasn’t quite giving us what we were looking for.  Vince (Brandt Audio Devices) insisted we move the primary pair closer and add an additional pair further out in the room.  While this ended up sounding OK for this session, I did not personally see any need for extra microphones and feel we could have adjusted the 2 mics for optimum sound.  While open and natural was the intent of this particular session, the sound of these mics on the piano is going to be a little too open if mixed with a heavier style rock or country track.   I personally love our Telefunken U47 and AKG 452 on our piano… but who wouldn’t?

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Vocals too?  Yes.  We placed one of the Previs mics with the custom pop filter in front of Kandace and her voice sounded amazing!  Very clean and smooth.  She was probably about 6 inches from the mic during her performance.  There were no issues with boominess since it is an omni mic and there is no proximity effect.  Most people would shy away from using these for vocals… simply based on misconceptions.  Use them… you just may fall in love with the sound you get.  I was very impressed with the dynamics of her voice without using a compressor… lack of proximity effect and the omni pattern no doubt playing a significant role.

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Drums… Oh yes!!!  The drums are where we’ve seen these mics really start to shine.  For more intimate sessions, use these on the entire kit.  The clarity heard from the drums when using these mics is very special.  We used 4 mics… a kick, snare, and 2 overhead/tom mics.  The sound was perfect for the laid back style of Kandace’s songs.

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Although this technique would not be appropriate for louder rock or country styles, I have been using a pair of the Previs mics as overheads on such sessions and have been extremely impressed with the results, as pictured above for Jerry Beecher of the Eric Heatherly Band.  The clarity of the cymbals with minimal eq is remarkable.  We generally have a matched pair of Vintage Neumann U87s on overheads, just to give you an idea.  The Previs mics allow us to use those expensive mics elsewhere on our sessions without sacrificing the quality of our drum tones.  The Previs sounded great inside the kick drum, although I struggled to keep the gain low enough even with the 20db console pad engaged.  The kick was very full and present with great attack.

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For the electric bass guitar, we placed a mic right in front of the bass amp and had no issues with distortion or spl handling.  Admittedly, the bass was my least favorite part of this recording.  It came across a little “weird” for my tastes.  The low and high frequencies are definitely there and the sound is very clear, but to me it just didn’t sound right.  I prefer recording bass with a DI generally.

Overall the song turned out very well… especially since we used only one kind of microphone for the entire session, which is basically unheard of in any professional environment.  Any home or professional studio will benefit from a pair of these… at $1000 a pair I don’t see how they can be passed up.  I’ve also put these on acoustic guitar and mandolin with great results and will continue finding new and interesting ways of using these great mics.   The omni pattern lets you get much closer to acoustic instruments without the boomy proximity effect of cardiod mics… all while sounding much more natural and realistic.

- Collin Peterson - Studio Manager / Chief Engineer - Creative Caffeine Studio

Specs from BrandtAudioDevices.com:
• Omni-directional
• Ultra fast “impulse response” for clearly defined transients.
• Flat 10hz - 20khz+ frequency response.
• Pure class A head amplifier ultra low noise high output design.
• SPL tested beyond 134db RMS.
• +48 volt phantom powered.
• Hand finished Bolivian Rosewood body.
• Clean look with Rosewood pressure fit mic holder (also fits common mic clips).
• Fitted metal pop-screen for the purest vocal recordings.
• Supplied 6″ ultra-flex gooseneck arm for critical placement
• Latched hand finished wooden storage box.
• Sold in consecutively serial numbered matched pairs.
• 3 year replacement warranty.

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Brandt Previs Wood Microphones at Creative Caffeine!

• Wednesday, June 25th, 2008
Brandt Previs Wood Microphones at Creative Caffeine!

We are proud to have the Brandt “Previs” microphones available for sessions.  John Brandt has created a very unique wood microphone featuring an omni directional pickup pattern.  These mics are incredibly accurate and our first applications have been great when used on drums.

We look forward to putting these mics to the test and are planning to do some demonstration recordings within the next month.

The best part… These first 50 hand-made mics are being sold for  $1000/pair and include wooden shockmounts and carrying case… Incredible!  Contact us for more details or check out BrandtAudioDevices.com.

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Gene Simmons blames fans, P2P for killing music industry

• Thursday, June 19th, 2008

The music industry is suffering, and it’s all because of those darn fans. Er, what? It turns out that KISS member Gene Simmons believes exactly that. He claims that piracy is to blame for the industry’s woes, and KISS is apparently taking its ball and going home until the situation gets under control.

“The record industry is dead. It’s six feet underground and unfortunately the fans have done this,” Simmons said, according to AOL News. “They’ve decided to download and file share. There is no record industry around so we’re going to wait until everybody settles down and becomes civilized. As soon as the record industry pops its head up we’ll record new material.”

It’s never a smart move to blame your loyal and devoted fans for the injustices of the world, but Simmons seems to think that his fans (unlike everyone else’s) would rather steal from the band than continue paying for music they enjoy. Simmons also thinks bands that encourage the public to download their music for free (such as Radiohead with its famed In Rainbows experiment) are only making the situation worse, despite the fact that Radiohead has made a nice chunk of change from the In Rainbows release so far.

Simmons’ latest comments come just over six months after his previous rant about the music industry, wherein he told Billboard, “Every little college kid, every freshly-scrubbed little kid’s face should have been sued off the face of the earth.” At that time, he blamed the record industry for letting foxes into the henhouse (presumably by allowing DRM-free music to be sold online, or perhaps any music at all to be sold online). “Doesn’t affect me. But imagine being a new band with dreams of getting on stage and putting out your own record. Forget it,” he said.

So, does this apparently rampant piracy problem affect Simmons or not? His comments between last November and now seem to contradict each other a bit, although they clearly share the same underlying sentiment: anger. Simmons might want to reconsider speaking for anyone but himself, though. Many young and independent bands are able to enjoy success on and off the stage, all while selling their music online. As part of an upcoming feature we’re doing on indie bands and online music, one band told us that its members believe that P2P is all part of the ecosystem, and that they even saw increased sales after their album showed up on Bit Torrent.

The sad part is that Simmons’ continued comments aren’t going to cause anyone (fans or not) to have an epiphany and quit their P2P-slingin’ ways. In fact, it may have the opposite effect—the clear disdain in his words may well drive some of KISS’ fans away. The only thing Simmons is doing by lashing out at fans is earning him a reputation as a curmudgeonly artist unwilling to adapt to a changing music landscape.

Original Article:
Gene Simmons blames fans, P2P for killing music industry

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Analog Tape + Pro Tools HD + Apogee Converters = The Ultimate Nashville Recording Studio Combo!

• Thursday, April 3rd, 2008

Upgrades at Creative Caffeine have commenced as we just installed an Apogee AD-16x and Rosetta 800 192, giving us 24 channels of Apogee analog to digital conversion at 24-bit 192kHz for our new Pro Tools HD2 Accel rig. Apogee makes some of the best converters in the business and we are anxious to get these up and running. We’ve been very fond of the radar 24 Nyquist converters we’ve been using for the past few years, so the Apogee units have pretty large shoes to fill. When combined with our analog tape machine, fabulous rooms, and vintage mic collection, we believe you’ll be hard pressed to find a better combo.

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Sony BMG’s planned music service looks like a yawner

• Tuesday, March 25th, 2008

Sony BMG plans to join the crowded pool of digital music services by launching its own music subscription service… sometime. Sony BMG CEO Rolf Schmidt-Holtz said that the service would allow customers unlimited access to Sony BMG’s entire library for a fee of €6 to €8 per month (roughly US$9-$12) and that the company was working with other labels and gadget makers in order to make it more appealing.

link to full article:
Sony BMG’s planned music service looks like a yawner

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Reality, antitrust concerns dog Apple subscription rumors

• Monday, March 24th, 2008

For instant rumor action, combine “Apple” with just about anything, add water, shake, and serve up on the Internet. The power of Apple rumors was on display again this week as word of a listen-till-your-eardrums-burst subscription hit the news. The result was a virtual torrent of commentary, news reporting, punditry, and antitrust accusations; PR on the scale that most companies would kill to have.

The hype

It began with an article in the Financial Times that said Apple was in talks with the major labels over bundling an all-you-can subscription plan with iPods. Customers might pay a premium on the devices for access to major label music, possibly for as long they own the device.

Subscription services to date have faced an uphill battle, since they all require DRM on downloaded files, and none of this DRM is compatible with the iPod. iPods account for around three-quarters of the US player market, meaning that any subscription service has a fairly small number of device owners to sell to.

Apple’s entry into the game could change all that, and could make lower-capacity but wireless devices more attractive as music platforms. It’s easier to sell a 16GB iPhone to music lovers, after all, if it can access any song, anywhere, with one upfront payment. But the moment that pundits began to blue-sky about Apple’s volte-face regarding subscriptions, two problems became quickly apparent: 1) Apple wasn’t doing any such thing, and 2) if it did, competitors would start agitating for some serious antitrust action.

The cold, cold water

No one is talking on the record about the situation, so what we have now are a collection of anonymously-sourced statements and heapings of conjecture. Businessweek did its best to quash the rumors, saying that sources had cast doubt on any potential deal. Apple was simply kicking ideas around, we’re told, not seriously trying to push a plan.

CNet claimed that Universal was actually the company pushing the plan, and that Apple was simply seeing if other labels might be up for something similar. The move would make sense, since Universal’s long-rumored “Total Music” plan would bundle access to its catalog with devices, and Universal has already signed on to a similar initiative with Nokia called “Comes With Music.”

Other reports were similar in tone. Yes, ideas like this had been floated, but nothing serious was being discussed.

The antitrust charges

That’s just fine with eMusic CEO David Pakman. eMusic is the number two download service in the US after iTunes and has built a huge stable of indie artists (it has no major label bands), with songs offered for around a quarter a piece. Pakman spent the second half of this week telling journalists that, if Apple was planning a subscription service, it might well be anticompetitive.

The argument is a simple one. “Apple has a monopoly,” Pakman told me Friday, citing their US market share at 80 percent. Companies in that situation have to play by a “different standard,” especially when it comes to anything that could be construed as “tying” (recall that Microsoft was accused of exactly this sort of tying when it rolled new “features” like Internet Explorer into Windows and then had to deal with years of litigation).

“If every iPod comes with [the hypothetical service], that’s tying,” Pakman said. eMusic and others would certainly bring the matter to regulators’ attention. But what if the new service is optional? Would that still be tying?

Pakman concedes that a court would need to hash this out, and he suspects that any such subscription service would in fact be optional. But he raises the specter of an “optional” service that in some ways isn’t; for instance, if Apple offered the upfront payment as an option when iPods were purchased through the Apple store, but made the payment mandatory for devices sold at Best Buy.

In the end, the whole story is “probably more rumor than anything,” Pakman says, and he professes astonishment that the major labels would bind their own digital destinies to Apple. Major label frustration with Apple has been obvious for years, as the majors were upset that Jobs held the line on a single price for all songs, and that iTunes so quickly became the dominant online retailer, thus giving Jobs more power over the labels than they had over him. Now, with the labels opening their DRM-free catalogs to other stores like Amazon, the balance of power may be shifting slightly, but Pakman believes that iTunes continues to account for 95 percent of the major labels’ digital downloads.

Major labels who made it even easier for Apple to control access to a growing part of their revenue stream would simply “continue the slide to their doom.”

A new hope?

We likely won’t see such an Apple-powered subscription model in the near future, then, but what’s most interesting about the story wasn’t the details of the subscription terms of the hardware it would function on. Instead, it was the very fact that subscriptions were attracting so much positive attention. Derided for years as “renting” music (and what consumer would want to do that?), the sudden rumor of a compelling subscription service that allowed unlimited major label content to be accessed and played from iPods and iPhones set the Internet ablaze.

Part of that could simply be due to the reality-distortion field emanating from Cupertino, which converts anything Apple-related into something cool, even if Apple derided the concept as ridiculous right up until its own announcement. But I think there’s more to it, something that makes the subscription model more palatable now than in years past.

In a word, it’s access. Always-on, constantly available, accessible anywhere access. There’s a reason why the interesting action in subscriptions has been happening in portable phones and not in standalone music players, and now that Apple has the hugely-successful iPhone in its lineup, it certainly could  roll out a compelling subscription.

This is the sort of value proposition that competitors haven’t been able to match: the biggest music store combined with the hottest device combined with all the music you want combined with anywhere access. Surely Apple sees the potential here; if it doesn’t, this week’s hubbub should show the company that such a service would be buzz-worthy. Whether we’ll ever see it rolled out is another question.

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Link to Original Article:
http://arstechnica.com/news.ars/post/20080323-reality-antitrust-concerns-dog-apple-subscription-rumors.html

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R.E.M. pushes limits with Accelerate as record deal expires

• Tuesday, March 18th, 2008

It is not impossible for a forward-thinking rock band to do some creative marketing today—even if the band has a major-label record deal. Case in point: REM.
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The grandfathers of alternative rock will have their new album, Accelerate, on store shelves in two weeks. But one week ahead of the physical release, Accelerate will be available for free streaming in its entirety through iLike, the online music service best known for its Facebook-based incarnation. You could stream lead single “Supernatural Superserious” from remhq.com since early February, and the band invited fans to mash up the video at will.

Sure, Radiohead and Nine Inch Nails may have gone a few steps further into the digital future, but theyre free agents. REM still has to honor its existing record deal, as by my reckoning Accelerate is the fifth studio album released under the well-known five-album, $80 million contract the guys signed with Warner Music way back in 1997. “The support from Warner goes all the way to the top, to CEO Edgar Bronfman and the rest,” band manager Bertis Downs told Ars in a phone interview this morning. Not every band enjoys that level of corporate backing, to be sure. Still, if R.E.M. can do it, then maybe Linkin Park or Matchbox 20 will be next. The dominoes start to fall, and well end up with a new template for how to manage a band and how to structure a record deal.

The avant-garde fun doesnt stop there, either. R.E.M. has licensed several songs no, I dont know which ones to video games after squeezing Orange Crush into Harmonix/Electronic Arts hit Rock Band. Bertis noted that some licenses never get used, but that theres a good chance that we might see more of Michael Stipe and the gang on our Xboxes and Wiis. Also, iTunes seems to be treating the band very well because theyre set to play a set in the worlds largest Apple store next Wednesday, two days after doing the Albert Hall. “Were playing a lot of smaller venues to support this album,” said Downs, “but this is definitely the only computer store on our schedule.”

All of this speaks volumes about Warners willingness to embrace the new realities of the entertainment industry. Its impossible to tell how much of this freedoms comes from R.E.M.s Hall of Fame-worthy star power, how the impending contract negotiations factor in, and how open-minded the labels top brass would be without those factors. But its a start. Would R.E.M. walk in Radioheads footprints and go truly indie? Bertis simply said that the band is looking at all its options, and that the opportunities to make interesting moves are so plentiful that they have to say “no” to most of them. In other words, wait and see. Whatever happens, R.E.M. will make news—and waves.

link to original article
R.E.M. pushes limits with Accelerate as record deal expires

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