Monthly Archives: April 2009

Parables on Piracy, greed, and ignorance

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How does a cycle endure? When consumption and replenishment of a source are about equal. If there’s a tiny village with a communal water source, there’s a system in which the precious water is distributed. A system in which allocates not only rations for the water but also implements a kind of compensation towards the good of the village itself. Each family gets to have some by first contributing a bit manual labor to the construction of village structures the natives all share, and secondly, waiting exactly a week for the water to replenish. So there is the compensation which gives something collectively back and there is the balancing of time so as to not deplete the resource. Any upset to the balance of this cycle and everybody loses. If one family decides to sneak more water than they should, lets say in the middle of the night, it would mean for that moment that the contribution aspect to the village is lost and the balance of time for replenishment is gone. Integrity and resource of that living environment is compromised. Everybody eventually starts to lose.

In this day and age of music and entertainment, the balance of our cycle(s) has been upset. Summed up into two ways, by greed and ignorance. Both greed and ignorance falls on the consumer and the industry.

There doesn’t seem to be a big disagreement on record labels in general being blood suckers so to speak. I mean just look at Nine Inch Nails’ front-man/mastermind Trent Reznor’s plight against them. We are talking big-time labels, the ones who can make an impact with less of a struggle. There are some indie labels that have caught whim of what it means to one, be fair where everybody wins, and two, causality and how it affects everybody in the long run. Before the days of piracy, as we know it today, what were the reasons for record labels taking so much while the creator/artist took so little? Greed. And that greed eventually also pushing the consumer started to push the integrity of our cycle off the deep end. It is not to say piracy and file sharing wouldn’t have existed without this greed and I’m in no way placing blame solely on the greed of the industry. I’m rather pointing out how one corrupting aspect affected our cycle for bad. File sharing and piracy, whether stemming from backlash or not is no lesser evil and equally needs to be addressed. You see, to go back to our analogy of the village, the record labels are like the higher-ups who administer and keep a degree of control over the resource. The people of the village are obviously like the modern day consumer. At any point within the cycle, if either party halts their share of what they put into the cycle and take more out than they put in than the long-term effects are the demise of the integrity of our cycle; our lives. If  X-label takes THIS much from the artist, that may directly affect the artist’s lifestyle and how they create their art. It may indirectly ensue a backlash from those who are supporting the monetary foundation for both the artist and the label hurting once again the artist, then eventually the label, then finally the consumer for draining the source (artist) of their entertainment, art, and music. Look, the bottom-line is,  no matter which thread you want to pull to destroy the sweater they all come down to being equally destructive. Everybody has responsibility in upholding their living environment. Every fair consumption that gives back fairly upholds the integrity of our cycle.

*I’m not affiliated with this gentleman, but Richard Gibbs’ activism against piracy and getting back to the artist what is indeed theirs is noteworthy. Check out this article and concept “Day Of Sharing”:

http://www.csmonitor.com/2009/0225/p12s01-ussc.html?page=1

And also what is being done:

https://www.payartists.com/

Interesting reads…

Lamb Of God “Sacrament” Producer Ed.

Filed under Industry, Music & Audio
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So anybody who knows me or knows about me reading online bio info or the like knows I like heavy music. Lamb of God is not a band I really listen to, but nonetheless I respect their status, resilience, and the following they’ve amassed. What  kind of piqued my interest about 2 years ago regarding the band was the release of a special edition of their album “Sacrament”. This aroused the audio engineer in me because it was a special release based around the concept of “you” the consumer getting a chance to actually mess with, mix, and dub tracks over their studio tracks from this particular album. I mean whether you like a particular band or not that is a pretty unique opportunity to get your hands on some commercial tracks to play around with. I figured what the hell and I went out to pick it up from Best Buy or where ever it was at the time. Now, this is a rant so let me just say I was more than disappointed when finding out what the actual tracks were.

First off, the reason I’m bringing this up now is because just recently I was reminded of it while in a forum some seasoned pro’s and amateur mixers brought it up. Now after acquiring this special edition CD, to my dismay these weren’t pristine raw tracks right from the studio. Now I know that I am an audio professional and perhaps for the layman, to have some kind of isolated version of what a normal album sounds like is exciting and interesting. However, anticipating that perhaps the layman would still purchase this special disc to mess with it and have some fun I firmly still think that full disclosure of the nature of the content should have been provided so I, or someone like myself, would not waste time and money on it. So what was/is the problem with this “special edition”?

Like I mentioned before, these weren’t raw audio tracks. The tracks are super processed, program compressed (“mp3′ed”), maximized, and grouped or put into stereo stems like the drums for example. For me, or someone like me, this is a huge disappointment and a bit misleading. Sure on some beginner’s level, one can still chop these up, do over dubs, re-mixes, etc., but the actual audio aspect of it is vilified because of the nature of these tracks. You can’t really expect to create a nice full, clean but heavy true re-mix; not with these tracks.

I don’t know, maybe I was delusional expecting more than what this turned out to be but I don’t see why the description of the contents couldn’t have been more explicit and clear as to what you are actually getting. To that end, this was a misleading product.

if you want to get a glimpse at a commercial track from the inside out to some degree and just want to mess around or be artistically creative with these tracks by all means, get it. But if you think you can practice your audio skills with these it’s a bit of a lost cause. That is of course if you as a pro or an aspiring pro want to test your skills in a situation where you may have no choice but to work with overly processed MP3′s then by all means, get it. Just don’t expect actual studio tracks as you’d think they’d be. The pretext to this is a bit hyped and misleading.

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