Audiophile Input Needed: The Future of Recorded Music

[Mallette]

The unanticipated response to my posted recordings has me going. I am looking to the future. Here's the scenario I hope to play out:

My wife is starting an hourly child care business. Lest you think this is just a mom wanting to make a few bucks from mothering little types, it's a plan we started on 5 years ago and included two rough years of her getting her MBA at SMU. What she sees is sweet little revenue streams coming and going through that door. Her plan was chosen unanimously by a venture capitalist panel from her entire class as the one they'd invest in. We just rec'd funding last week and plan to open the first of at least 5 stores in August. What does this have to do with audio?

Well, the revenue stream is projected to grow very rapidly. If projections are correct, my current job will not be necessary in 3 years and we should be able to sell off in 5-7 and retire. Here is where audio comes in.

I plan to spend that three years gradually rebuilding my recording stable and resources. The really neat thing is that any expenses I incur doing environmental, cultural, or classical music (pretty much anything I am likely to do except the Spankers!) can be written off to Hourkids, Inc. as my wife can make these available to her clientele for their kids and play them at the store(s). That means we can write these costs off our taxes. [H]

Over six years after I began my investigations into the deficiencies of commerical digital recording the market has finally developed the level of DAC/storage I need for the following plan:

I intend to record all sources in 4X24/176.4. This format will allow me to issue recordings in everything from discrete surround to Redbook without transcoding using the Virtual Presence principles discussed in my paper and which some of you have graciously subjected yourselves to and apparently enjoyed. It is my belief that OPPO and others will evolve their products towards trully universal players that will handle whatever you stick in them. Such players will end the format issues that have plagued us for so long. SACD and DVD-A are trully excellent formats, but few of you have adopted them and even less of the general public initially due to cost, and now due to simple disgust and a lack of software. The software lack is due to cost for "mom and pop" outfits like me. SACD is out of the question, though I can master DVD-A as long as the length doesn't require the 2500.00 MLP compression software that is required for the DVD-A standard.

So, I'll make and distribute Redbook, DVD-A (your preference of 2X24/176.4 or 4X24/88.2 as these work within the spec), and provide for download of any other format you may desire or be able to handle up to 4X24/176.4.

What do you guys think? Are more of you getting into soundcards and other means of playing back true high res digital? Would if a reasonable supply of quality recordings were available?

What about this: Recording without an audience means expense to pay the muscians and for the space. Most of the folks I want to record are not pop stars, so total expense for a session would be as low as 1000.00 for a first rate organist to around 3000.00 for a smaill chamber ensemble or mixture. Church choirs and some others might do it for less or near free just to have the recording. At the high end, I'd need to sell 100 copies at 30.00 each to break even...and that is really all I am shooting for. Just like your systems, this is a passion for me and making money is not an issue (if it were, I'd choose something else!). So, some of these might be financed by subscription on my website. I put up a description of the propose recording, and people commit to purchase. Those proposals that reach cost happen.

There are other things my wife and I want to do when the money is there. I recall village festivals with extraordinary music up in the golden triangle region that were haunting at night would make grand Virtual Presence surround. Texas thunderstorms and night in the African jungle, The planet is LOUSY with magnificent soundscapes begging to be experienced. I have an abiding desire to record a Sacred Harp gathering. Talk about made for surround...all singers face each other in a square!

What do you think? Suggestions?

Sheesh, I am gonna do it anyway, but your guidance will help.

Regards,
Dave

[seti]

I have mnany friends in bands and I'll share what they are doing with you. These are just observations from friends that love making music.

My friends bands have been taking a multi faceted approach to releasing their music. They get themselves registered as music labels so they can release on iTunes which is very very affordable. I have never bought an iSong and I have owned a Mac laptops and used iTunes for years. I hear that I am not the norm. One of these bands has done very very well selling songs on iTunes. The simplicity of iTunes sales shouldn't be overlooked.

They ALL use MySpace to promote their bands and this has had an unsuspected result. What was unsuspected was that they have met fellow musicians that share their sound/vision from Italy and Japan which have contacted them. They have no spinoff projects or extra help on their albums. The term they use is Cyberband. This has been interesting to watch as they exchange music files back and forth to build songs. Now a Little Rock band is being played in Japan and set to be released on a compilation CD in Italy.

These bands also post concert footage or self produced videos on YouTube. This gets them lots of attention as well and they include likes to their myspace and iTunes and vica versa.

While my friends are using these affordable ways of getting there music to like minded people they don't feel like a legitimate band if they don't have a product to release CD or Vinyl. All the bands I know consider Vinyl releases to be the coolest. When local musicians record they are basically building their own studios and making their own CDs. The product they put out is very good and 100% theirs. There are a few guys in town who do much better work selling their services as studio engineers and they use them sometimes. I don't know of any band that sells their CDs for more than $10. You have to admit that there hasn't been a better time to be in a band. They use Youtube, MySpace, iTunes, Ebay and several other sites that work in the same manner. This makes it so much easier for them to produce and promote their own products with an incredible low overhead.

Getting into the music industry right now would be risky IMO. That being said music production needs to be taken out of the hands of the labels and put back intot he hands of those that love music. I'll tell you something else that local bands have also learned BEWARE OF THE MUSIC BUSINESS. Several local bands have gone to Nashville, Memphis, or Austin to record in a studio lured by executives only to record a product they consider subpar and a waste of time due to the people they were working with who "knew" better. These bands were very bummed out by these experiences. This is something you could capitalize on if you let the band make their music and don't change the band.

I think a subscription would be very difficult to sell. I rarely find music I want simply by label. There are some I like more releases than others but not usually enough to want a subscription. This may be easier to do as an online release for a better price and hope you make lots of sales. This is just my opinion and I could be way off.

Are you familiar with Mapleshade Audio? http://www.mapleshaderecords.com/main/aboutus.php They have released some of the highest quality recordings that I have heard. Whatever they are doing it is right.

Have you read David Byrne's Survival Strategies for Emerging Artists — and Megastars ?

http://www.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all

I didn't mean to post a small novel. Good luck and above all have fun!!!!!!! I thought your recordings sounded excellect and I can't wait to hear some more.

[Mallette]

Thanks, Seti. Useful. I am very aware of Mapleshade and several other excellent release venues. Once I have a few new projects in the can I may approach them and Gothic/Loft, possibly one or two others about distribution. We'll see.

Frankly, I'd prefer to keep it small and handle it through my own website and resources. If I can sell a hundred copies of anything to audiophiles I'd consider that going gold! It is about the MUSIC!

Regards,
Dave

[Mallette]

>I don't have any advice on how to make money on it, but I do know that being involved in a work you love is priceless.

You're talking about me again... As I told my wife last night, if making money were my aim I would not have such a yearning to record a 9th century Sarum plainsong mass in an awesome space.

Dave

[seti]

>I don't have any advice on how to make money on it, but I do know that being involved in a work you love is priceless.

You're talking about me again... As I told my wife last night, if making money were my aim I would not have such a yearning to record a 9th century Sarum plainsong mass in an awesome space.

Dave

Awesome perfect attitude. It does sound like fun. Let us know how it goes!!!

I have another friend who lives in Oregon and he is addicted to sound scapes. He has a sophisticated portable mini recorder with two mics that he wears. Whenever he goes for a walk in the city or to a bar or evena walk in the woods he records sounds. It is odd being at his house as he is always listening to some new enviroment and he clings to some of them like we do to songs. Very interesting.

[Mallette]

>I have another friend who lives in Oregon and he is addicted to sound scapes. He has a sophisticated portable mini recorder with two mics that he wears. Whenever he goes for a walk in the city or to a bar or evena walk in the woods he records sounds. It is odd being at his house as he is always listening to some new enviroment and he clings to some of them like we do to songs. Very interesting.

I think I mention this in the sixcard (I don't read my own meanderings that often), but there was a period when envirnonmental recordings were at least niche popular, and before that steam recordings quite common. I do not think that they really became less so, but there is something more subtle involved. Once the novelty of hifi stereo wore off, so did the reality. Such things REQUIRE surround. Sounds like a beachscape are wonderful to experience in reality, but even the finest stereo does not create "Virtual Presence." I am aware this is not a PC thing to say in the beloved 2 Channel Forum, but you can't change facts.

I know where your friends head is, and it is a good place.

BTW, "I have another friend who lives in Oregon..." It's nice to hear you say that. Makes this less virtual and more like a real place! I feel the same way about many of you.

Regards,
Dave

[colterphoto1]

I"m definitely in agreement that this is a good thing. I also enjoy environmental landscape recordings and fondly recall recording the backyard with two Realistic lapel condenser mics sunk into the sides of a styrofoam wig stand. It was incredible to listen to on headphones although the fidelity wasn't great.

[Mallette]

I have such a recording I made on my front porch over 30 years ago. The mental imagery of just what it looked like comes back every time I listen.

Michael: Did you get my email?

Regards,
Dave

[jt1stcav]

All I can say, Dave, is go for it! It's obviously a worthwhile project that'll hopefully have capital results (pun intended if you do actually make some money at it).

You certainly have my support.[]

[eq_shadimar]

If you want to do it then do it! [8-|]

Now to answer some of your other questions. First you are thinking PC based playback which is sooooo 2000 [] All the action these days is in networked (wired or wireless) media streamers. The streamer setup is sweet because you can have your noisy PC, media server, NAS, or whatever sitting away from your listening area. All you have is this smallish box that hooks to your network and amps.

Sonos and Squeezebox are good examples of music based streamers. Both have digital outs so you can use your own DAC if you want to. Then there is a whole host of streamers that do music and video (I have one called Popcorn Hour hooked to my 4TB NAS via my network). Again these are all equipped with digital outputs so you can use your own DAC if you desire. All these devices will support lossless formats like FLAC as well as plain ole WAV files.

There is a need for high quality music downloads and I wish the music industry would start supporting higher quality downloads!

Anyway that is my 0.02 worth. I hope it helps.

Laters,

Jeff

[LoudnClear]

I like DVD-A and other high resolution audio, but it has to be recorded well and mastered well to really connect with me. So much is not up to par. I love the Brothers in Arms DVD-A from Dire Straits. Gaucho DVD-A is also another DVD-A I consider to be reference quality. As far as redbook, I consider Jack Johnson CDs, especially the 2008 Sleep Through the Static release, to sound perfect, as good and clear and full, pure, smooth and round as the best high rez DVD-A I've ever heard.

I'd be interested in the 176.4/24 versions of your work, provided I could burn them to disk and play them on my DVD-A player. Do you know how to do that or would it have to be played through a PC soundcard? What would be the connection between PC and receiver?

Quality sound and availability of quality software are important to me, and it always boggles my mind that 95+% of the public know nothing about bitrates, high-rez audio, and even that mp3 and itunes aac files are lower quality than CDs. Its a crime that itunes and windows media default to 128 kbps when users rip CDs. Most users don't know about bitrate and don't know they can increase the quality of their stored sound. I hope one day the trend of ignorance and apathy about sound quality in this country reverses.

That said, you're certainly entering a niche market of a niche market. I'm interested along with you if that makes you feel better.

Kimball

[Mallette]

>I'd be interested in the 176.4/24 versions of your work, provided I could burn them to disk and play them on my DVD-A player. Do you know how to do that or would it have to be played through a PC soundcard? What would be the connection between PC and receiver?

The DVD-A standard supports either 24/176.4 or 196 for 2 channels. There is no provision for 4, however. Max for that is 24/88.2 or 96 X 4. When the time comes, I'll make it available however folks want it. Obviously, music will be quite satisfactory to many with only half the ambience and experience there. It has been so for a long time and this forum indicates it isn't dead yet.

I intend to record the way I think it should be done. However, those who may wish to listen to it will get it however they want it. That seems fair enough to me. Not my job to be obertastefuehrer.

Dave

[Travis In Austin]

What about this: Recording without an audience means expense to pay the muscians and for the space. Most of the folks I want to record are not pop stars, so total expense for a session would be as low as 1000.00 for a first rate organist to around 3000.00 for a smaill chamber ensemble or mixture. Church choirs and some others might do it for less or near free just to have the recording. At the high end, I'd need to sell 100 copies at 30.00 each to break even...and that is really all I am shooting for. Just like your systems, this is a passion for me and making money is not an issue (if it were, I'd choose something else!). So, some of these might be financed by subscription on my website. I put up a description of the propose recording, and people commit to purchase. Those proposals that reach cost happen.

I think it is a great idea. I agree, check out Mapleshade. I always wanted to ask Renee, I think his name is, why he records on analog and goes to redbook? You have to be very careful on the budgeting because in your example above you have painted with some very broad strokes. Your costs would be true assuming that you record a work that it is the public domain and there is no arguable copyright. It also assumes that you get signed contracts from the "session" musicians that makes it clear they are being paid for their time as performers and they waive any and all rights in the final product.

Maron on this forum would be a good source. He was a recording engineer on a fair number of classical recordings he did for University orchestras, etc. He might be able to tell you what barriers may come up. For example, there is no way you would be able to get permission to record the U of H Chamber Sting Quartet, if there is such a thing, because you could not use there name without getting the school's approval, and you are not going to get that unless you pay a royalty, which means you are going to have to sell that many more cd's to brake even. That does not mean that you cannot hire several of U of H music students, some or all of which might be in the String Quartet, to play some selected works for you, it just can't be marketed as the U of H string quartet. The thing of it comes down to what in the business they call the "talent." In other words the draw, the demand. Even in the classical genre there are certain SO's and certain conductors that sold. Regardless of how good the composition is, how good the recording was, some conductors sell better then others. It of course all feeds off of itself. A conductor that sold well on his last lp could demand a certain engineer or might not even have to. The company made sure they had the best.

Here is an idea, you could advertise in Craig's list in Austin, that you, an experienced recording engineer, will do "demo tapes" for free for select bands. They get a high quality demo out of it, you negoiate some sort of deal that you get the exclusive rights to the high resolution stuff you sell on your site. Then all that is at risk is gas and your time.

Travis

[Mallette]

Thank you, sir. Some good thoughts. The 'broad strokes" I used were pretty much from my experience to date based on those I've recorded. Many of the members of these groups, notably the Hubbard Chamber Music Ensemble or the Dallas Camerata, are also members of orgs like the Dallas Symphony and such. Of course, that can mentioned in the context of "resume" but only that way.

As to Mapleshade's analog to digital methodology, I've wondered about that as well. I can see it if your primary interest is an LP, otherwise it is transcoding no matter how you color it and an unneccessary step. The logic eludes me...but what do I know?

The only thing I've been able to figure is that perhaps they found (as I did) that it was problematic to get a flawless digitization in the early days (say, up to 5 or so years ago) and analog tape is so good that the little bit of noise introduced by the tape was worth it to ensure a perfect session using known technology.

While you are here...I've a Sony RR with a left holdback tension issue. With older decks, I knew how to deal with this as they usually had simple bands that could be adjusted with a screwdriver. This one uses some sort of electronic system (switchable between 15/7 inch reels) and is insufficient to hold during play in either position. I having to put a weight on the supply reel. Otherwise, great deck. I don't have the model number (if that would help) as I am at work, but will supply if you might have some ideas on how to deal with this or know somebody who does.

Regards, and thanks again,
Dave