Archive for the ‘Music’ Category

Like most people who listen to music I have a Last.fm page which busily “scrobbles” all of my listening habits. It’s not that I’m particularly interested in giving CBS (the parent company of Last.fm) my listening habits; it’s just easy to send them along via my Squeezebox, and it paints an interesting profile of me as someone who loves to listen to music.

What’s really interesting is the artists that show up as my most listened artists.

I’m a huge Rush fan. I’ve been a Rush fan ever since high school. Any time Rush is in town, expect JoDee and I to either be in the audience, or having an existential crisis over why we can’t go.

Yet if you look at my Last.fm profile, you’ll notice something peculiar.

Rush is the 9th most listened band in my list, after Daft Punk, Risha, Obituary, Testament, and so on. Heck, even Claude Debussy ranks higher in total listens than Rush.

So, does this mean that Rush is not my number one band of all time? Should I instead be putting my efforts into seeing Daft Punk in concert?

Perhaps, but there’s something more to that data than just number of songs played might show you.

I spend most of my working hours listening to music via the Squeezebox. And my work involves programming, which is usually best done with either extremely angry music, or with very nondescript, almost sound-track-like music.

Daft Punk released what I consider to be the penultimate developer album, namely the Tron: Legacy soundtrack.

Chances are I’ll probably put this album on at least once a week, if not more.

Why not listen to Rush? Well, on occasion I do, but Neil Peart is my favorite drummer of all time, and there’s a reason I keep drumsticks near my desk. (Note to current boss: the sticks in my cubicle are merely for show. Honest. :) )

But without context, and without knowing where and when I listen to this music, you might think I was full of it, and Daft Punk and Risha are my favorite artists. And while that may be true in an office context, I have far more Rush memorabilia than any of the bands in the top 20 combined. (Sorry, Claude.)

There’s an old saying “you can’t manage what you can’t measure”, but you also can’t measure what you can’t put into context. My musical tastes vary depending on location,and I’m sure yours do too. I’m sure you can come up with examples where context would give you a completely different answer outside of numerical counting.

(This is why I get cranky when people talk about radio ratings for an entire market. No wonder Detroit only has one under-served classical radio station, but 10 decades stations. But that’s another rant for another time.)

What measurements are you taking right now that could be improved by figuring out the context?

 

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Just listened again to Jono Bacon’s awesome song “Unite“, which features a clip of Charlie Chaplin’s speech from “The Great Dictator”. Jono notes that the song uses this clip from The Great Dictator, which was released in 1940, and likely very much under the wiles of those who would like to ensure it never reaches the public domain.

This got me thinking:

Movie Studios and Record Companies are scared of letting their work go into the public domain because they’re afraid their golden years are long behind them.

Fear is a great motivator to do the wrong thing. Maybe by removing the fear we can move back to doing what’s right.

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On May 28th, the fruition of what appears to be a long campaign to completely release Bach’s Goldberg Variations came to fruition. Not only is there an absolutely beautiful (and in many ways extremely competitive) recording of the Goldberg Variations by Kimiko Ishizaka, but also the complete score of the Goldberg Variations is also completed, using the excellent MuseScore. I won’t claim to be an expert on the piece, but I can give a layman’s appraisal of the work. I’ve picked up several recordings of the Goldberg Variations over the years:

Two of these albums (Colin Booth and Janine Johnson) are played on the harpsichord, as originally intended. Andreas Almqvist plays them (beautifully) on the acoustic guitar. Pi-hsien Chen’s rendition is very beautiful, if a bot rote, and the selections from Glenn Gould’s 1955 Goldberg Variations recording are, how shall we say, dizzying in their tempo, and a bit distant in their recording.

There’s quite a bit of variety in these recordings, but I have to say my favorite is the Kimiko Ishizaka rendition. First, the recording is top-notch. The soundstage for the piano is amazing. Secondly, the performance is anything but rote. There’s a feeling to the playing that just feels quite alive. With some of these previous albums, I felt quite bored midway, but this recording kept my attention throughout, and (dare i say it) I wanted to hear more when the album finished. Adding the nature of the project (funded via Kickstarter, and released completely under the CC0 license), and you have my undivided attention.

I’d highly recommend downloading a copy of Bach’s Goldberg Variations by Kimiko Ishizawa, if for no other reason than to expose yourself to some utterly high-quality classical music. Then sit back, and realize how much better this music sounds once you know that you can share it with your friends.

Many thanks to everyone involved with this project.

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Answer the following questions in the comments section. There’s no time limit, but taking more than 10 minutes to answer these questions is a clear sign of insanity.

  1. When picking up a rental car in a different city, do you:
    1. Tune in a local radio station
    2. Find an auxiliary jack to plug in your MP3 player
    3. Check for Sirius XM radio, and if it exists, choose that
    4. Hope someone left a decent CD / tape in the CD / tape player and leave it to chance
  2. The power just went out in your home. Do you:
    1. Tune in the local news radio station
    2. Head outside to ask your neighbors if they know what’s going on
    3. Fire up a computer to see what might happening
    4. Use a another form of radio to determine what is going on (HAM / Shortwave / Police Scanner
  3. I mostly listen to commercial radio:
    1. To be informed about local or national news
    2. To be informed about sporting events
    3. To find interesting music
    4. Because I forgot to bring a CD / music player
  4. I think commercial radio (check all that apply):
    1. Is the best way to stay informed about local news and events
    2. Is essential for emergency situations
    3. Provides an excellent source of new and interesting music
    4. Is essential for my daily routine
  5. Assume your car’s radio suddenly stopped functioning for some reason (broken, or a backward-incompatible switch to a different broadcasting method). What’s the most likely course of action you would take? (Please select one):
    1. Replace or upgrade the radio with a new radio as soon as possible
    2. Purchase a new vehicle, making sure the new vehicle’s radio uses the new standard
    3. Purchase a new vehicle, and if it has the newer standard radio, that’s fine
    4. Find alternate means to listen to programming in the car
    5. No action would be taken
  6. Name your favorite radio station or radio stations in your area:
Thanks!

If you were hoping to get more of me blathering on a microphone, your wish has been granted. I did a guest-host spot on Music Manumit while Doug was away. Check out the episode and say hi to Tom and Doug over there. They have a great show about all things music and licensing.

[Edited for clarity]

Those of you who know me know that I have an amazing fetish for music, most notably for compact discs. I love to discover new music, and browsing through used CD stores is my idea of a great way to kill an afternoon (and, notably, also a great way to kill off my wallet as well). And I love vinyl albums as well, though not nearly as much as I love CDs. I love vinyl albums because of the amazing artwork on the covers, and the incredible attention to detail that these albums have.

Recently, though, I’ve noticed that CDs have been villianized for reasons I can’t fathom. Perhaps it’s a backlash against the RIAA, or just a generation spoilt for choice of musical medium. I have a few theories on why this is.

CDs are a pain to play
I don’t mean that CDs are themselves complicated to play. Far from it. All you need to do to get a CD to play is just drop it in a CD player, and you’re golden. What I mean is that folks generally don’t have separate CD players anymore. They have CDROM drives, DVD players hooked to their TVs, or some piece of crap portable they won at an office party 15 years ago. There’s no separate CD player in my house anymore, so in order to play a CD, I have to fire up the TV to play the DVD player through it, or I need to listen on a computer. That’s a pain in the ass. also, I haven’t had a portable CD player in quite some time, so in order to enjoy a CD portably, I have to rip it (which takes time), and then copy it to a digital media player (which may also take time). Vinyl removes all of that thought. You have to have a dedicated record player to play a record. Period. You can’t play movies on your record player, and making records portable requires recording those records on your computer. But, apparently folks are willing to overlook these things.

(Note: I’m not going to get into CD copy protection because I frankly think it’s the most evil thing a record company can do with their listeners purchases. Companies that engage in this practice are part of the reason CDs have a bad name. Stop it.)

Vinyl sounds better
This isn’t about golden ears or any of that other horseshit that audiophiles love to trot about regarding vinyl records. The truth is, vinyl records can sound amazing under the right circumstances. What are those circumstances? Well, for starters, most CDs that were mastered in the 1980s -1990s were mastered using the same EQs that the record company used for vinyl LPs. So it’s not your imagination that your old albums sound much quieter than the new remasters (loudness wars aside). Worse, CDs have a flatter dynamic range than vinyl albums, so they had a “harshness” to them that vinyl didn’t have. That’s mainly where the “warmth” of vinyl albums comes from. Also, later vinyl albums had much more care put into their mastering than earlier records. Vinyl records enjoyed many years of perfecting, and in later iterations became more of an audiophile medium rather than a commodity recording medium. Contrast that with CDs that tend to get more of a commodity treatment. I also have a sneaking suspicion that those people who rail against CDs are actually railing against the MP3s that they carry about with them (which do sound much worse than uncompressed CD-quality FLAC files. If you want to do some blind A-B testing, let me know. ;) ).

Vinyl also is generally played on the best stereo system in the house, as opposed to being played on some crappy college-era boom box that needs desperate calibration. If I played my CDs on a player that was as expensive as some of these top-of-the-line turntables, I think I could equal, if not surpass the sound of vinyl any day of the week.

Vinyl has better packaging
No argument here. Because the disc is larger, there’s more room for more detailed art on vinyl records than CDs. Also, early CDs got what could be best considered “catalog treatment” where the packaging was just enough to get the release out the door. This is notable on the Rush remasters which fixed the earlier releases that didn’t have half of the artwork or any of the lyrics of the original vinyl release. Also you don’t get goofy things like picture discs with CDs.)

Vinyl requires your full attention
Let’s face it, digital music can be enjoyed just about anywhere. You can pop your MP3 player in your car, hit shuffle, and likely not hear the same song twice for quite some time. Vinyl records aren’t as portable, so you have to be in the same room with it. However, this is a side-effect of the limitations of the medium, albeit a good side effect because your attention isn’t distracted.

Vinyl is an investment
What people also seem to forget is vinyl requires maintenance. A LOT of maintenance. New stylus cartridges are expensive, and vinyl albums require frequent dusting of the surface to ensure no dust gets into the grooves. There’s also care that’s required to ensure the vinyl disc doesn’t warp. Also, the medium itself is prone to distortion, and doesn’t provide the soundstage that CDs provide. Check the following for more info:

In contrast, people seem to think CDs are indestructible, and treat them no better than they would a coaster. Granted, I think this has something to do with the bulky jewel cases that CDs come in, but if people treated their vinyl discs the same way they treated their CDs, you’d never make it through an album without having skips, pops, and other undesirable distortions.

Like most nostalgia, people only remember the good parts of vinyl. However, I think there’s a tendency to eschew modern technology as somehow evil or bad in light of these older technologies. With the right equipment and an excellent recording, I’m sure that CDs could easily surpass any vinyl listening experience. Try it yourself! Pull out your CD player that you packed up when you got your DVD player, and hook it up to your sound system. Get out your snooty beverage of choice, and dress in your favorite smoking jacket. Find your comfy chair, and a CD of your favorite music (The Rudy Van Gelder reissues of the classic Blue Note recordings come to mind) and push play. Sit back, close your eyes, and listen to the music.

Whatever format you choose, whether it’s FLAC, CD, or vinyl, just remember to enjoy the music.

You’ll be free, hackers. You’ll be free.

echochasm – libre (mp3)

echochasm – libre (ogg)

(Based off of Jono Bacon’s “Free Software Song“, written using LMMS and Audacity)

 

 

Here is a simple object lesson of what is wrong with the music industry.

Exhibit A:

This was taken at a local Borders store. There are literally 3 full sleeves of Susan Boyle’s Christmas album. In the regular CD section, there’s a smattering of classic artists, such as David Bowie, Rush, and Pink Floyd; each with a greatest hits album to just show representation.

Over in the Buy Two, Get One Free: Copies of John Coltrane’s Ascension. On other Borders trips, I’ve found Valery Gergeiv’s Mahler cycle, as well as Iron Maiden’s back catalog. That’s right, they’re clearing out the good stuff.

Seriously, why the fuck would anyone feel the need to have three sleeves of this album? No offense to Susan Boyle, but her record company and the buyer for Borders need to be lined up against the wall and shot for this sort of crap. Even at a buck a disc, there’s no way they could clear this out. What imagined demand were they thinking might happen that couldn’t be sated with another order, or another pressing. Seriously, I have to go online to find Emerson Lake and Palmer or Peter Gabriel’s back catalog (which, funny enough, was in the 40% clearance rack at another Borders), but this takes up three sections of their shelves? Hell, there wasn’t even a classical section to speak of, but this shit sits, awaiting some suckers to purchase it.

Man, no wonder people don’t purchase CDs anymore.

 

(OK, sorry for the lame title, but you come up with something for HD other than High Definition. :) )

One of the local NPR radio stations has a HD2 channel that they use to put music on. Now, considering there’s probably a handful of HD receivers out there, and none of them in my house, I’m not able to get these treasures via terrestrial radio means.Which is kind of a bummer, because WDET2′s music program manager puts together a three-hour show called “In The Flat Field” that has industrial and goth metal music. So, one of my biggest complaints about radio not catering to extreme tastes (and instead catering to the pablum that passes for contemporary music) is sated, and I can’t get to it.

Enter Internet Radio and podcasts.

WDET, like most radio stations, has an Internet Radio stream. So, during the day, I can stream WDETHD2 using Rhythmbox or Banshee. So, I can get local music via the internet. That’s a plus.

But what’s even better is the show is also available as a podcast. So when I forget to tune in when the show is broadcast, I can listen to it via podcast from the In the Flat Field site. That my friends, is awesome.

Yeah, I know it’s nothing for some stations to rebroadcast their shows as a podcast, but it’s nice to know that there’s still stations out there that broadcast great music. And for that, WDET2 needs to be commended.

I’ve finally put together the tracks that have been on this site into a single, semi-coherent release on Jamendo, and entitled it “Mixed Media“. Check it out, and let me know what you think, either here on the site, or over on Jamendo!