Articles

Interesting Letter from Creative Commons

July 6th, 2010

Dear Creative Commons supporter,
Last week, ASCAP sent a fundraising letter to its members calling on them to fight “opponents” such as Creative Commons, falsely claiming that we work to undermine copyright.*
Creative Commons licenses are copyright licenses – plain and simple. Period. CC licenses are legal tools that creators can use to offer certain usage rights to the public, while reserving other rights. Without copyright, these tools don’t work. Artists and record labels that want to make their music available to the public for certain uses, like noncommercial sharing or remixing, should consider using CC licenses. Artists and labels that want to reserve all of their copyright rights should absolutely not use CC licenses.

Many musicians, including acts like Nine Inch Nails, Beastie Boys, Youssou N’Dour, Tone, David Byrne, Radiohead, Yunyu, Kristin Hersh, and Snoop Dogg, have used Creative Commons licenses to share with the public. These musicians aren’t looking to stop making money from their music. In fact, many of the artists who use CC licenses are also members of collecting societies, including ASCAP. That’s how we first heard about this smear campaign – many musicians that support Creative Commons received the email and forwarded it to us. Some of them even included a donation to Creative Commons.

If you are similarly angered by ASCAP’s deceptive tactics, I’m hoping that you can help us by donating to Creative Commons – and sending a message – at this critical time. We don’t have lobbyists on the payroll, but with your support we can continue working hard on behalf of creators and consumers alike.

Sincerely,

Eric Steuer
Creative Director, Creative Commons



RiP: A remix manifesto

June 30th, 2010

Just saw a great documentary about remix culture. It was called “RiP: A Remix Manifesto”. It was great! It has a lot of info about copyright law, corporations, pirating, etc. Check it out!



Fender Stratocaster vs. Gibson Les Paul

June 18th, 2010

Anyone looking to buy a new guitar might be overwhelmed with the choices available, especially if he or she is new to the world of guitars. There are acoustics, electrics, solid-bodies, hollow-bodies, classical, and multiple brands and styles to choose from. However, as far as solid-body electric guitars go, there are two classics that stand out from the crowd: the Fender Stratocaster, and the Gibson Les Paul. Both guitars were released in the early 1950s, and have become the standard by which all other electric guitars are measured. For years, guitarists have argued about which one is better, but it’s really a matter of personal preference since each has it’s own sound, style, and feel. I’ve played many different Strats and Les Pauls over the years, and have a good grasp of the similarities and differences between the two.

The first thing a budding guitarist will notice is the way a guitar looks, even though it makes little difference in the sound or playability. Les Pauls and Strats are both beautiful guitars, but each has a distinct style. Although available in solid colors, Les Pauls usually have a carved maple top, with some type of stain such as Honey Burst, Sun Burst, Tobacco Burst, or one of several other finishes. The carved top is contoured, unlike the flat tops on Fender guitars. Also, the fret markers on a Les Paul fret board are trapezoid shaped mother of pearl inlays, which add an extra layer of beauty to these instruments. Strats, by comparison, only have small black dots for fret markers that are functional, but don’t add much to the looks of the instrument. Some people, however, consider the Les Paul’s single cutaway body style dated. When I began playing guitar at age fourteen, I thought Les Pauls looked like antiques, and have only begun to appreciate their style in the last ten or fifteen years. The Stratocaster’s body style, on the other hand, is probably the most recognizable guitar in existence, and is the one most people think of when they picture an electric guitar. The double cutaway style is famous around the world, and imitated by almost every other guitar company. Strats are available in solid colors, black and red being the most common. They are also available with a Sun Burst finish, which is also extremely popular. Some people have described Stratocasters as looking like classic cars, especially some of their original colors such as Fiesta Red, Sonic Blue, and Foam Green.

Visual aesthetics aside, the real test of a guitar is sound and playability. Stratocasters and Les Pauls sound quite different from one another. The main factor in the tone of an electric guitar is what kind of pickups it has. Pickups are basically magnets that “pickup” the vibrations of strings, similar to microphones. There are two main types of pickups, single-coil and humbucking. The names refer to how the pickup is wired. The single-coil, which was invented first, has six coils wired around individual posts for each string. They work very well for sound amplification, but are also excellent antennas that are prone to picking up electromagnetic interference, and tend to hum loudly and cause feedback. Feedback is a high-pitched squeal that is the result of a “loop” between the input and the output of a microphone and speaker. Some might argue that guitarists such as Jimi Hendrix have used feedback to create interesting effects (such as the intro to Foxy Lady), but generally speaking, feedback is considered an undesirable attribute. Humbucking pickups, on the other hand, have two larger magnets, each magnet being coiled separately with opposing polarities to phase out the “hum” of the interfering frequencies. From what I can gather with my limited understanding of electronics, each magnet carries the desired string vibration signal and the unwanted “noise” signal. Since the polarities of the magnets are opposite, the unwanted signal is cancelled out. However, with improper wiring the desired signal will be left out and one will hear only the noise. Most people consider humbuckers as being “warmer” sounding, which basically means lower and mid-range frequencies. This sound can be heard on Led Zeppelin’s “Whole Lotta Love”, Duane Allman’s solo in “Whipping Post”, and in the Jazz recordings of Les Paul, who helped invent the guitar that bears his name. Single coil pickups are noted for having more treble, and are frequently heard in country, funk, or surf music. Examples of the single-coil tone can be heard in the recordings of Waylon Jennings and Merle Haggard, Dick Dale’s “Misrelou”, and Prince’s earlier recordings. In the beginning, Les Pauls and Strats both had single coil pickups. Around 1957, Gibson began using humbucking pickups in their guitars, while Fender stuck with single coils. Les Pauls became known for a “fatter”, “heavier”, sound, while Strats are thought of as having a “quacking”, or treble type sound. Of course, now days Stratocasters are available with humbucking pickups, and Les Pauls are available with “soap bar” style single coil pickups.

However, the pickups are not the only factor that account for the sound of a guitar. How a guitar is constructed, and the type of materials used affects, not only, the sound of a guitar, but the durability, weight, playability, and price of an instrument. Les Pauls have a mahogany body and neck, with a maple top. The mahogany body has a much “darker” sound than the ash or maple body of a Fender. This is due to the fact that Mahogany trees have dense, hard fiber in between the rings, which compresses the higher frequencies, including upper midrange tones. Maple and Ash trees, by comparison, have dense rings with soft fiber in between that allow high and upper midrange frequencies to be heard. Also, Les Pauls have a set neck with a slanted headstock, while Fender uses a bolt on neck with a straight headstock, making Strat necks much less prone to breakage. Les Pauls are notorious for having broken headstocks, partially due to the pressure from the strings along the slant of the headstock. I worked in a guitar store for almost eight years, and I have seen many broken Les Paul necks. Fender guitars are available with a maple fret board, or a rosewood fret board, while Gibsons are limited to rosewood. The rosewood fret board gives a warmer sound, and has a rougher feel to it. I prefer maple necks for their “twangy” sound, and smooth lacquered finish, which seems to me to aid vibrato and note bending. After talking with many guitarists over the years I believe I am a minority in the Rosewood vs. Maple debate, since most have told me they prefer the Rosewood. Another factor to consider is the weight of the instrument. Les Pauls can weigh up to eleven pounds, while most Strats are around the seven-pound range. This might not seem like a huge difference, but after having one strapped on your shoulder for an hour or two, Les Pauls become very uncomfortable. Recently, Les Pauls have been made available with chambers hollowed out of the body to reduce weight. Some people say that the sound is not the same, while others disagree. Playability is also very important to a guitarist. Les Paul’s have a raised bridge, similar to a cello, while Stratocasters have a flat bridge. I find the flat bridge easier to play, for the most part, but it partially depends on one’s style. The other main factor in playability is the size of the fret board. Les Pauls have a 24-¾ inch scale, while Strats use a 25-½ scale board. Again, this may seem like an insignificant fact, but if you sit down and play each guitar you will notice a big difference. For someone with smaller hands, a Les Paul may be in order. However, I prefer the Fender scale because there is more room to maneuver.

All things considered, both Les Pauls and Stratocasters are amazing instruments. They are both made in America by experienced craftsmen (except for cheaper models made in Mexico and Indonesia), and despite quality issues within both companies during the seventies, have withstood the test of time due to their extraordinary design and functionality. However, for a beginning guitarist, I think the Fender Strat is the best option. For one thing, it is a much lighter guitar than the Les Paul, with the exception of the newer “weight-relieved” instruments. Also the straight headstock and bolt on neck make it more durable, and easier to repair in the event of damage. It is also available with a rosewood or maple fret board, unlike Gibson guitars. However, perhaps the most important feature to a beginner is price. A deluxe Fender is in the $900 to $1200 price range, but a Standard Les Paul starts at around $2500. Not to mention the fact that Fender has a “Made in Mexico” Strat for around $350, that is almost as good as the American one. As a matter of fact, when I toured the Fender factory in California, they told us that the parts for the Mexican Strats were made in America, and that they were only assembled in Mexico. Gibson, on the other hand, charges $1300 for the Studio Les Paul, which is not built as well as a real Les Paul. The Studio model has volume and tone knobs mounted on a circuit board instead of individually wired, which makes modifications to the electronics difficult if not impossible. The Studio LP also has a thinner body, and does not have binding on the fret board and top, which is a cosmetic issue, but also one of the reasons that normal Les Pauls are so pricey. So for someone looking for that first guitar, I believe you can get much more “bang for your buck” by purchasing a Fender Stratocaster.

by Ryan Bass



Jerry Lee Lewis

June 1st, 2009

Did anyone see Jerry Lee Lewis on the Farm Aid show? Unbelievable!!!! This guy is 74 years old and he still kicks ass! I didn’t even know he was still alive. He has been playing music for OVER 50 years. AWESOME!!!! This guy needs a lifetime achievement award! Amazing!

Here is some old school Jerry:



New Gear: Spectrasonics Stylus RMX 1.7

March 9th, 2009

from RemixMagazine:

New Gear: Spectrasonics Stylus RMX 1.7

Mar 2, 2009 6:53 PM

Version 1.7 of Spectrasonics Stylus RMX Real-time Groove Module is now available for $399 or as a free upgrade to existing RMX users. The update features an innovative and completely new capability called Time Designer, which instantly transforms RMX audio loops into different time signatures and features the ability to Groove Lock the feel of any groove to another — all in real time. Time Designer also lets you create instant pattern variations with smart algorithms based on musical rules, and to “simplify” any RMX groove in a musical manner.

To Groove Lock any loop in real time to another loop or MIDI file, you choose a designated loop as the Groove Lock master, and switch the Settings button. After that, all the loops that are played as the user browses are Groove Locked to that main feel.

RMX 1.7’s Time Designer is available in any designated time signature. Once new Time Signatures are selected, the browsing experience works the same way – once you choose 6/8 in Time Designer, your entire RMX library will be instantly available rearranged in 6/8 patterns.

 

For multiple time signatures in a piece of music, you sets the first time signature variation, drag and drop the MIDI file to the sequencer and then set the time signature to a new one. Repeat that process for each section of music that requires a new time signature. The MIDI files you drag to the host sequencer are “imprinted” with all the Groove Lock and time signature changes in the MIDI data, so they’ll be ready for further customization.

Time Designer’s Pattern Variation section lets you instantly check out useful variations on a loop. Time Designer makes rearrangements of the pattern based on a series of musical rules creating useful variations, and is available for all time signatures.

The new Simplify function provides another way to instantly customize audio loops to fit the music. Turning the Simplify knob takes out slices and makes more space for other musical parts. Used along with Groove Lock, Simplify lets you quickly layer synchronized grooves to create one-of-a-kind groove combinations. The Time Designer page shows a graphic of the groove’s time slices to give the user instant visual feedback along with the changing groove as the Simplify knob is turned. Anything in RMX can be used with Simplify including tonal, percussive and imported REX libraries.

All Time Designer features also work with third party RMX libraries and imported REX files, as long as the grooves are sliced properly.

 

Sylus RMX 1.7 is the first 64-bit native software from Spectrasonics, includes all the new effects from Omnisphere and useful workflow enhancements, such as Suite Editing and Host Transport Sync.

Check out Spectrasonics’ video demo of Stylus RMX 1.7.



Remix Georgia Wonder via Mixable

February 24th, 2009

From Creative Comons:

Georgia Wonder, the UK band who made headlines earlier this year for encouraging their fans to share their music, is participating in this year’s annual MIXABLE contest to support UK schools. The band has made the separated audio tracks from their song “Girl You Never Knew” available for download in both WAV and AIFF files and available under our Attribution-NonCommercial-ShareAlike license:

Whoever comes up with the best version as chosen by the band will get to work further on the track in a full studio, and this new version will then be featured on an upcoming release with full production and performing credits!

http://www.mixable.co.uk/



Music to Watch…Owl City

February 22nd, 2009

Hello, my name is Adam.
I prefer daydreams over reality.
Music is my muse.
I write and record in my basement.
I have trouble sleeping.
These songs are all I have to show for my sleepless nights.
I hope you enjoy them as much as I enjoyed creating them.
It means the world to know someone is out there listening.
You have no idea how much I appreciate you.
Thank you.

website: http://www.myspace.com/owlcity



Royalty Free Songs

February 20th, 2009

Looking for royalty free songs? Here are some groups of royalty free songs released under a creative commons license that you can use, remix, etc.

Acoustic Songs

Guitar Songs

Jam Tracks

Electronic Music Songs




RIAA Causes Suicide

February 17th, 2009

Report from Jon Newton at p2pnet.net:

I had an email from an RIAA victim — a student — who said she was going to kill herself because she’d heard from someone at an (the?) RIAA extortion settlement centre categorically promising her she’d be taken to court unless she came up with more than $9,000 to buy the RIAA off.

She said she was already up to her neck in debt because of school loans and had absolutely no way of finding that kind of money, or anything like it, that she couldn’t sleep, couldn’t study, couldn’t live a normal life because of the worry.



YouTube Creative Commons

February 16th, 2009

youtubelogo2YouTube just made an incredibly exciting announcement: it’s testing an option that gives video owners the ability to allow downloads and share their work under Creative Commons licenses. The test is being launched with a handful of partners, including Stanford, Duke, UC Berkeley, UCLA, and UCTV.

We are always looking for ways to make it easier for you to find, watch, and share videos. Many of you have told us that you wanted to take your favorite videos offline. So we’ve started working with a few partners who want their videos shared universally and even enjoyed away from an Internet connection.

 

Many video creators on YouTube want their work to be seen far and wide. They don’t mind sharing their work, provided that they get the proper credit. Using Creative Commons licenses, we’re giving our partners and community more choices to make that happen. Creative Commons licenses permit people to reuse downloaded content under certain conditions.

Visit YouTube’s blog for information. And if you’re are a partner who wants to participate, fill out the YouTube Downloads - Partner Interest form.