Last Post

For now, life leads me in other directions and requires that I focus energies elsewhere. I hope you (the world) found something interesting, entertaining, or thought-provoking in my blog pages.

Farewell. I enjoyed the ramble.

Thank you

I wanted to post here to say "thank you" to those who have read my musical and life musings here on my blog.

Thanks to those who have commented and those who have read.

I enjoyed rambling about life and music. It was an interesting time.

The death of High Fidelity?

I don't think High Fidelity is dead. I think music (and recordings in general) have been "Walmartized" a fair bit.

Every artist I know cares about the end result of their music in recordings. Every music engineer and technician I've ever met cares very deeply about how well the end product sounds.

Yes, we have lots of folks "aiming down" for best-fit to digital devices, quicker download times, and smaller speakers/cheaper headsets. Yes, we have suits telling the R&D end of music/recording production to "crank it up." Yes, there are folks who don't have the "ear" to tell the difference between a 128K sampling of a tune vs. pure uncompressed analog, uncompressed digital, or any other high-end source - not everyone listens to $5K sound systems, has $500 headphones, or even knows that high-end devices exist.

Here's what I say: Make great recordings of great sounds. Produce them with care and polish them enough to make them pleasing. Leave the original stuff to hi-fi quality. If you're making ringtones or low-quality MP3s, mark them as such.

Don't forget: The listener is always right. All of them.

I miss them

I miss minds and souls like Jimi Hendrix and Stevie Ray Vaughan.

I am, however, glad that there are so many independents out there making their music and sharing it with the world.

Right now, it seems as though Disco is returning (not literally, but effectively - with the resurgence of paid-for-pop).

Listen to people that aren't played 100 times an hour on pop radio. Listen to alternative radio (internet or radio waves. Seek out new music. Enjoy local performances.

Derek Trucks, The Slide, and Life

Derek Trucks (and his awesome spouse and bandmates) is absolutely awesome.

I've never met a more humble, sincere, likeable person - who makes such fundamentally wonderful and creative sounds.

I don't go and buy CDs every day. Although I listen to myriad types of music each day, I don't often get to drop in sounds that are profoundly "favorite set" altering.

I've got two Derek Trucks Band CDs now. My "must listen" play list will never be the same.

The music is wonderful, entertaining, interesting, finely-crafted, and diverse. Please buy Derek's stuff right away. Go see the band when they're near. Buy and wear their merchandise (I love the SG shirt).

Let's fund further music, concerts, and sounds from these people. The more we support them, the more they are able to explore, play, and make music for its own sake (and not about boardrooms or eking by on money for the bills).

While I'm ranting about perfection... ;-)

It costs WAY over $100K (a minimum, really) to produce a well-produced album.
That's a BARGAIN, considering the skills, time, equipment, and effort required to do a great set of recordings and mastering.

But, that's a huge barrier to amateurs. But, surprisingly, so many have found ways to make really good recordings - with help, some good low-cost equipment, and lots of trial-and-error.

Don't be afraid to support an artist who can get great recordings with awesome producers and facilities and technicians. Please support them!

But also, don't be afraid to try it yourself. At worst, you'll have had fun. On average, you've created something for others to enjoy. Win-win, as far as I see.

It takes a community (and a lot of money)

It takes a league of people, machines, time, expertise, and money - to make a professionally-cut album.

Bob Dylan and Sir Elton John both think that today's music is over-processed, over-polished. Many other musicians say they can't compete without hugely-edited music (to the tune of a minimum of $125K). Musicians who don't have the name- and brand-punch of Dylan and John don't seem to have much choice in the matter - produce in a particular way, or be left out.

Isn't it interesting that people with fine ears don't like over-compressed, over-processed music, but boardrooms seem to like it very much.

And then there's the little gal/guy, with their home equipment - making sounds, making emotions, sharing emotions. Do they stand a chance of being able to compete?

The artist shares great joy, great pain, great sorrow, and great love. What does a boardroom have to do with it?