Paul D. Lehrman, a lecturer in music and director of the music engineering minor program, weighs in on the debate
Vinyl is back, no doubt about it. Sales of vinyl records have been
soaring, although they still represent only a tiny fraction of the music
industry’s revenues: about 2 percent in 2014. Is this growth because,
as some respected sources breathlessly state—I’m looking at you, Wired magazine—vinyl sounds better than digital media? Or is there some sort of retro-hype going on?
It’s true that some digital media really don’t sound very good.
Low-bit-rate MP3 makes compromises in fidelity, as does low-bit-rate
AAC, the higher-tech successor to MP3 that is used by iTunes and
YouTube. Low-bit-rate AAC files are also what you typically hear on
Pandora, Spotify and SoundCloud, and on your phone. While they are OK
for casual listening in the gym or the car, many people can hear their
limitations in a quiet environment.
Sunday, July 17, 2016
Friday, July 15, 2016
New Ontario Vinyl Plant Aims to Be 2nd Largest in North America
Precision Record Pressing plant expects to manufacture 4 million units in first year
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| A massive upswing in record sales has led to a new vinyl processing plant in Burlington, Ont. (CBC) |
The operation's new dulcet analog tones come courtesy of a partnership between Canadian music distributor Isotope Music Inc. and Czech vinyl manufacturer GZ.
But getting the new 20,000 sq. ft. Precision Record Pressing plant operational wasn't without obstacles, vice-president Gerry McGhee told CBC News.
- Streaming music: a villain or saviour for local labels?
- Vinyl records make comeback with younger music fans
Thursday, July 14, 2016
Watch PBS’ 11-Minute Segment On The Ramones From 1978
The Ramones played the State Theater in Minneapolis in 1978. Here’s a great 11-minute segment from the local PBS Station, KTCA, where the band talks about the punk scene in England, with a few scorching moments of performance.
Tuesday, July 12, 2016
Whiskeydick Tour!!!
We're pleased to announce that Whiskeydick has released their latest album "Bastard Sons of Texas," an is currently on tour!
If you didn't catch them July 1st in Chicago, at Moonrunners Festival , then check out the dates they will be on the road with Gallows Bound!
The second half of the tour will be with Archer Nation, and kicks off in August!
If you didn't catch them July 1st in Chicago, at Moonrunners Festival , then check out the dates they will be on the road with Gallows Bound!
The second half of the tour will be with Archer Nation, and kicks off in August!
Who Plays Where, When and Why: Explaining the Mysteries of Live Music Booking
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| A crowd watches Doomtree perform at First Avenue. (Nate Ryan/MPR) |
Booking, say local pros, is both a science and an art — and like the rest of the music industry, it’s built on relationships. “It’s basically the relationships between the buyer, who would be me,” says Tamsen Preston of Sue McLean & Associates, and booking agents, “who would be the representatives of the artists.”
Most touring bands work with booking agents: people whose job it is to help the artists maximize their financial success on the road while also helping to ensure that the shows are accessible to fans in terms of ticket prices, location, and atmosphere. “We discuss different artists [that agents] represent, what they’re looking for coming through the market,” says Preston. “My job is to try to find the [type of] venue that they’re looking for.”
Booking agents work with local bookers — also known as talent buyers — in each market: people who are in a position to cut a deal for a band to play a particular venue on a particular date for an agreed-upon sum. Many bookers represent venues directly; in other cases, bookers represent promoters (like Sue McLean & Associates) that contract separately with the venues.
Agents, explains Eli Flasher of First Avenue, “will reach out and say, ‘Hey, I’ve got so-and-so band coming through your market on these five dates, this time frame.’ We go back and forth on an offer, and then settle on a date that works for both parties.”
Sunday, July 10, 2016
New York Lawmakers Pass Tax Credit to Boost Music Production in State
The
Empire State Music Production Tax Credit, which proponents believe will
attract more music production jobs across New York State, passed in
both the Assembly and Senate on Thursday in Albany. If signed into law
by Gov. Andrew Cuomo, the bill will provide a 25 percent tax credit for
eligible production costs downstate (NYC), and a 35 percent break for
upstate music businesses.
The
program is capped at $25 million per year. To be eligible, costs must
be related to job creation, rental fees, session fees for
musicians/engineers, etc., mixing and mastering services,
transportation, or for music video production. The bill, sponsored by
Sen. Martin Golden and Assemblyman Joseph Lentol, received widespread
support from the local music industry, which has been looking for ways
to keep jobs and productions from shipping off to places like Canada.
Saturday, July 9, 2016
Lexington Resident Turns His Living Room Into Music Venue
In memory of his wife Virginia, Lexington resident Robert Schwartz brings intimacy and accessibility to the music scene.
“Partly in honor of my wife and to continue the thread I wanted to start a series where people locally can come and hear live music not at symphony hall, but in an intimate venue,” said Schwartz, of Patterson Road.
During the past year, Schwartz turned his home into a 40-seat concert venue bringing three professional music performances to Lexington. He is preparing for another set of performances, which he calls Musical Chairs, to start this fall.
The point of the smaller venue is to give audience members the chance to get up close and personal, according to Schwartz.
“One of the advantages of a house concert is it’s the way it was done during the Renaissance,” said Sheila Beardslee-Bosworth, whose band Concordia Consort plays Renaissance-era music. “In a house concert, everybody’s sitting there in an informal setting, and even though we treat it as a professional gig, it’s a little more relaxed.”
The home has a long tradition of musical tenants back to Joanna Giwosky, a harpsichordist who used to play and teach lessons at home.
Schwartz’s late wife was a professional harpsichordist as well, who came from a long musical background.
“It’s a privilege and an honor to continue the thing that meant the most to my wife during her lifetime,” Schwartz said. “It was the single most important thing in her life. My wife as a harpist gave recitals here in the house. Students would play and practice and take lessons right here.”
The money audience members pay for the tickets pays the musicians, Schwartz said. At the price of $15 to $20 per ticket, Schwartz believes people will take a chance on music they might not be used to.
“Folks that don’t have a lot of experience going to concerts or don’t have a background with classical music get to hear something local,” Schwartz said. “It’s very informal, you can chat with the musicians and learn what motivates them, why they chose the music they chose to perform.”
Many of the people who attend are not professionals, which Schwartz lends to the price of the tickets.
“Everybody in the audience are either amateurs or people, like me, that don’t play the music,” Schwartz said. ”I have a deep appreciation for it, but I don’t have an instrument.”
Beardslee-Bosworth, whose group performed at Musical Chairs this winter, said for musicians the experience is more personal and in many ways more rewarding. The group has begun playing more house venues because of their experience at Schwartz's home.
“In a concert hall, we’re up front and the audience is way down there,” Beardslee-Bosworth said.
“We don’t necessarily get to talk to them up close and personal about the music or to see how they respond to it other than applause. We can answer their questions about why we did something this way or that. It gives us a chance to bring the audience to a better understanding of what we’re doing and how we went about doing it.”
The reception after the show is the favorite part for many concertgoers, Schwartz said.“Afterward, there is a reception, everybody is encouraged to bring a beverage and a snack, and the musicians get face time with the audience,” Schwartz said. “Some people have said the chance to talk to the musicians afterward is one of the best parts of the evening.”
In Lexington where the available venues are typically larger and more costly to attend, Schwartz believes Musical Chairs brings something new to town.
“There are not that many house concert series in Massachusetts, and the ones I know about are folk music venues like Fox Run in Sudbury,” Schwartz said. “I’m not aware of any house concert series that focus on classical music.”
With more series like Musical Chairs, live music could build a larger and more diverse community of talent coming through town, Schwartz said.
Schwartz said the series was relatively easy to establish.“I thought it would be far more difficult but maybe it’s because I already have strong organizational skills,” Schwartz said. “Perhaps the most surprising thing is finding out that anybody could do this if you have good organizational skills. I didn’t know that ahead of time.”
For more information on Schwartz's venue, please visit here!
Gentile, Al. "Lexington Resident Turns His Living Room Into Music Venue." Wicked Local Lexington. June 19, 2016. Accessed July 7, 2016. http://lexington.wickedlocal.com/news/20160619/lexington-resident-turns-his-living-room-int-music-venue.
Thursday, July 7, 2016
Why Rock Stars Die Young
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Labels:
Artists,
Counterculture,
Drugs & Drink,
Health,
History,
Love,
Music,
Naughty & Sexy,
Science
Wednesday, July 6, 2016
Hillbilly Philly: The Ladies of Philly’s Indie-Country-Western Music Scene
“My motto is to not let old men intimidate you. Just throw an elbow.
I wouldn’t be half the lady I am now if I didn’t make them make room.”
Bro-country may still be a slick, preeminent sub-genre within
country music’s rural firmament and tanned, brawny dudes such as
Kenny Chesney pack stadiums with their gentlemanly jive. Yet, in
the middle of June—on the same week Dolly Parton sold out the Mann and
Dixie Chicks, the BB&T Pavilion—South Philly’s once-and-former
bastion of barroom C&W, Boot & Saddle, hosted a record
release party for bittersweet Emily “Birdie” Busch. The longtime
Philly-folk-country queen, who released her first record in 2006 (The Ways We Try), stood on the crammed tight stage debuting her sixth album—the psychedelic-tinged Thunder Bridge—with
her elegant nuanced voice and her strangely subtle avant-hillbilly
band beside her. “I love how eccentric country music got in the
1960s with Lee Hazlewood, Roger Miller, Hazel Atkins,” says Busch. She
quickly adds Germantown jazz man Sun Ra to that list, if only for the
“emotional influence,” poetic inspiration (the title Thunder
Bridge is a reference to a line in his poem “We Must Not say No to
Ourselves”) and overall willingness to free one’s mind so that her
boots will follow.
Busch is not alone as a local cowgirl with-or-without the blues.
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| Birdie Busch (B Philly Photography) |
Busch is not alone as a local cowgirl with-or-without the blues.
Monday, July 4, 2016
Meet The Inspiring Young Man Who Still Plays Guitar After Losing His Limbs
Ripu Bhatia’s time as a journalism student in Sydney was cut short in July 2015, when the Auckland native was diagnosed with meningococcal septicaemia. The now 22-year-old weighed only 30 kilograms after losing his arms and legs to the disease, but that hasn’t stopped him from doing what he loves — playing music.
In an exclusive interview with Music Feeds almost a year since his diagnosis, Mr Bhatia reveals how music (and, most notably the guitar) has helped him through one of the most difficult periods of his life. He has also shared some new footage of himself rocking out — catch that alongside his full interview, below.
Watch: Ripu Bhatia Plays The Blues









