New York, NY, April 17, 2008: To remind the public, members of the music industry and U.S. legislators of the central role and rights of those who conceive and create music, ASCAP (the American Society of Composers, Authors and Publishers) today officially launched a ‘Bill of Rights for Songwriters and Composers.’

This awareness-building initiative centers around 10 core principles, including ” We have the right to be compensated for the use of our creative works, and share in the revenues that they generate” and “We have the right to license our works and control the ways in which they are used.”

For those of you who don’t know. ASCAP is one of the societies that collect performance royalties for us when our music is licensed and played on things like TV, video games, radio, or other public performances..

Make Your Voice Heard! Sign now.

Click here to read more.

www.octavarecords.com is now online, it’s just basically a splash page at the moment. I wrote newsletter subscription code for the front page today so everyone can be updated when the site officially launches. I’ve been doing tons of work behind the scenes on the administration panels and database structure mostly, but because of the work I’ve been getting done in the administration panel, I’ll soon be into the front-end user interface stuff.

I basically created an editor in php that I can use as a common editor for all the various database functions, much like how scaffolding works in Ruby on Rails. If you’re not familiar, there is a screencast called Creating a weblog in 15 minutes to demonstrate how much it can speed up and simplify things by not repeating a million lines of code. I basically lay down definitions in my php pages containing information about the database structure, such as:

• Database row names
• Database row type (e.g. Integer, Boolean, Text, or even things like File. — As an example, the code will make things like Boolean appear as a checkbox when editing or adding new entries.
• Friendly names, displayed as labels, such as ‘Name:’
• If the database is storing integers to refer to another database table, such as artist id #1. This section also includes data referring to the table ‘artist’. Giving definition to the id number that’s stored as an integer.
• And a few other options.

The common included file will then generate pages to Display, Add, Edit and Delete database entries based on that array of information about the MySql database. It’s been a lot of work creating the code to do all this, but it will be nice and simplify things in the long run, because I’ll be able to re-use the code in other projects of mine.

So, basically, I’ve just been über-geek lately… Perhaps it’s time I buy one of those illuminated wi-fi signal status detector shirts from ThinkGeek? Oh well… What the hell am I talking about? Take a look at yourself! You, too, are on this damn infernal cobweb of a net… You know you want one!

Anyways, Octava will be the new home for my various music projects and collaborations, past and present. Including: The Underground Bass Masters, Polaroid Kiss, and Audesi. I will also be producing and mastering new music from Xavier.

I used to own a record label. That label, Luaka Bop, still exists, though I’m no longer involved in running it. My last record came out through Nonesuch, a subsidiary of the Warner Music Group empire. I have also released music through indie labels like Thrill Jockey, and I have pressed up CDs and sold them on tour. I tour every few years, and I don’t see it as simply a loss leader for CD sales. So I have seen this business from both sides. I’ve made money, and I’ve been ripped off. I’ve had creative freedom, and I’ve been pressured to make hits. I have dealt with diva behavior from crazy musicians, and I have seen genius records by wonderful artists get completely ignored. I love music. I always will. It saved my life, and I bet I’m not the only one who can say that. -David Byrne

Read the full article: David Byrne’s Survival Strategies for Emerging Artists — and Megastars

There was recently a post from Trent Reznor of NIN, with stats of Saul Williams latest record. I couldn’t find a direct link to it on www.nin.com, only an RSS or Atom feed link. So I cut and paste it. I hope nobody minds.

It’s a strange time to be an artist in the recording business. It’s pretty easy to see what NOT to do these days, but less obvious to know what’s right. As I find myself free from the bloated bureaucracy of major labels, finally able to do whatever I want… well, what is that? What is the “right” way to release records, treat your music and your audience with respect and attempt to make a living as well? I have a number of musician friends who are either in a similar situation or feel they soon will be, and it’s a real source of anxiety and uncertainty.I’d like to share my experience releasing Saul Williams’ “The Inevitable Rise and Liberation of NiggyTardust” and what I’ve learned from the process. Perhaps by revealing of all our data – our “dirty laundry” – we can contribute to a better solution.

“A quick history: Saul makes a great record that I produce. We can’t find the right home at a major label. We decide to release it ourselves, digitally. Saul does not have limitless financial resources so we shop around for a company that can fulfill our needs. We choose Musicane because they are competent and are willing to adapt to what we want. The results are here: niggytardust.comWe offer the entire record free (as in totally free to the visitor – we pay bandwidth costs) as 192 MP3s, or for $5 you can choose higher fidelity versions and feel good about supporting the artist directly. We offer all major CCs and PayPal as payment options.Here’s what I was thinking: Fans are interested in music as soon as it’s available (that’s a good thing, remember) and usually that’s a leak from the label’s manufacturing plants. Offering the record digitally as its first appearance in the marketplace eliminates that problem. I thought if you offered the whole record free at reasonable quality – no strings attached – and offered a hassle free way to show support that clearly goes straight to the artists who made it at an unquestionably low price people would “do the right thing”. I know, I know…Well, now I DO know and you will too.Saul’s previous record was released in 2004 and has sold 33,897 copies.As of 1/2/08,154,449 people chose to download Saul’s new record. 28,322 of those people chose to pay $5 for it, meaning: 18.3% chose to pay.Of those paying,3220 chose 192kbps MP3 19,764 chose 320kbps MP3 5338 chose FLACKeep in mind not one cent was spent on marketing this record. The only marketing was Saul and myself talking as loudly as we could to anybody that would listen.If 33,897 people went out and bought Saul’s last record 3 years ago (when more people bought CDs) and over 150K – five times as many – sought out this new record, that’s great – right?I have to assume the people knowing about this project must either be primarily Saul or NIN fans, as there was very little media coverage outside our direct influence. If that assumption is correct – that most of the people that chose to download Saul’s record came from his or my own fan-base – is it good news that less than one in five feel it was worth $5? I’m not sure what I was expecting but that percentage – primarily from fans – seems disheartening.Add to that: we spent too much (correction, I spent too much) making the record utilizing an A-list team and studio, Musicane fees, an old publishing deal, sample clearance fees, paying to give the record away (bandwidth costs), and nobody’s getting rich off this project.But…Saul’s music is in more peoples’ iPods than ever before and people are interested in him. He’ll be touring throughout the year and we will continue to get the word out however we can.So – if you’re an artist looking to utilize this method of distribution, make of these figures what you will and hopefully this info is enlightening.Best,TR”

Let me know what you think. Thanks. :)

Frozen Remix CD [3CD Set]

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Three CD’s featuring the Audesi Remix of the Celldweller track ‘Frozen’ and 42 remixes by other artists is available to order now for $14.99. [Pre-Sale] Orders will ship the 1st week of December.

Click here to purchase.

Polaroid kiss’s first performance

The audio is hard for people to make out which song it is.
Click here to listen to a sample of Love in Transition.

Here’s another video of me and Tim setting up for a show at The Trapp Door.

Tim and Earl

I think I was putting a 9volt battery into a DI Box. lol.

lvl – Home (Audesi Remix) Streaming Sample
[See post to listen to audio]
Appears courtesy of FIXT Music.

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lvl – Home (Remix EP)

785788790792794796798800802804806

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By Jenny Poplar
Posted 10/25/2007

In less than one year, Salt Lake City’s Polaroid Kiss has accomplished things that might cause musicians in more metropolitan cities to shake their fists in the air. How, they must be asking, does a band with no formal public-relations or marketing team and who’ve scarcely played out or even recorded a full-length album accumulate 26,000-plus MySpace friends? How do they receive international airplay and acclaim for their one single and receive requests to perform live with established European-based artists including Chris Corner, aka IAMX, formerly of Sneaker Pimps?

Polaroid Kiss guitarist Tim Burgess—the most recent addition to the quartet—shrugs and, with a slight smile, replies “I think people are getting sick of traditional guitar-driven bands. That’s been done so much in the past few years. They want something new.”

Or retro.

If the runaway success of Polaroid Kiss is any indication, synthesizer-driven bands are making a big comeback. Of course, that’s discounting those who never ever stopped loving electronic bands.

Producer, songwriter and jack-of-all-instruments Brandun Reed says that Polaroid Kiss has received a great deal of attention in Europe, especially in Manchester and Berlin.

“Germans love synth. The old joke is, when America had Lynyrd Skynyrd, Germany had Kraftwerk,” co-producer/multi-instrumentalist Earl Dixon says.

Reed and Georgia-born vocalist Tom Bennett founded Polaroid Kiss in December 2006 following a lively conversation about their divergent musical tastes at a local dance club. Reed and Bennett are both DJs who adore electronic music, but the bulk of Bennett’s vocal experience—true to his Southern roots—has been fronting folk, acoustic and indie acts including Salt Lake City trio O Discordia, a far cry from the abrasive post-punk music that Reed generally enjoys.

Reed and Bennett wanted to produce highly danceable music that begged for multiple rotations at the club. Intelligent, catchy lyrics were also a must. Reed eventually invited Dixon—who has been friends with Reed since the fifth grade—and Burgess to join Polaroid Kiss to ensure a fuller, more developed sound.

Reed and Bennett’s vision is finally starting to come together. Their first single, the moody-yet-infectious Faint, New Order and Nine Inch Nails-influenced “White Lines and White Lies,” has fared well online and in several local clubs where it’s often blasted on repeat. Reed notes that he has even witnessed several people singing along as they dance.

“We’ve really taken our time,” Reed says. “Although we had a lot of ideas from the beginning, we didn’t rush into the recording studio or start booking shows immediately. We made an effort to put a lot of thought into what we’re doing.”

Bennett says Polaroid Kiss is in the process of recording a full-length debut with (fingers crossed) Kelli Ali—another former member of Sneaker Pimps—as guest vocalist. “Her management contacted us because they liked our sound,” Reed says.

Word of mouth still hasn’t landed Polaroid Kiss a proper label, though, and they’re on the hunt for a home. “I’ve always been happy to work really hard and do things myself. I’ve always made my own merchandise, for instance,” says Bennett, who has fronted bands since age 15. “But it does get really exhausting, and it would be nice to eventually have someone to help us with that.”

Reed says Polaroid Kiss’ first major live performance will include a carefully choreographed light show and several other flourishes. “Even though our music is very danceable, I want to make sure we put on a really good performance. Sometimes electronic music isn’t the most exciting thing to see live. We want to make our shows very enjoyable for the audience.”

POLAROID KISS w/IAMX @ The Urban Lounge, 241 S. 500 East, Saturday Oct. 27, 10 p.m. 24Tix.com

Courtesy of  Salt Lake City Weekly. View the article here.

I was headed out to see Mandy this morning and I had been on the freeway for a short time and my rear tire had a blowout. Suddenly there was this huge rumble and my car slightly slipped as if riding on a small patch of ice. I thought either my tire blew out or my engine exploded. haha. Something was wrong. So I pulled over and attempted to put on my 50mph miniature spare tire, but it turned out the wrench I had was the wrong size and it was slipping as I was trying to turn the bolts. I had to call my dad, as he was getting ready to head off to work to come out and help me out. He had the right tool and we got everything fixed and I got home.. Sort of scary, I always worried about having a blowout. I’m lucky that my car was very controllable and I didn’t lose control. Anyways, it looks like I’ll need to hitch a ride to practice for a few days, until I get my tire fixed.

It was good to hear the music performed with us all together and it was also sort of exciting. We only had enough time to get through White Lines a few times. The other night and this morning I only had enough time to prepare my synth patches for White Lines, so I will have my patches ready for Love in Transition the next time and probably another song or two’s backing tracks prepared. I’ll practice a bit more by my self tomorrow and bring a hardware compressor and EQ to use with Tom’s vocals. Brandun will be recalling the original guitar and bass effects so that it sounds as close as we can get it to the original.

PK is in search of a drummer in the Salt Lake City, UT area for live shows. We have a show quickly approaching and may have to perform the first show without a drummer. If you have pretty tight timing, are into it, and have access to electronic triggers preferably with sampling capabilities so that we can give you the proper kit sounds, get in contact via MySpace. Thanks.

This is a demo track I created for Sample Logic‘s new sample library called ‘The Elements’. I created it using only sounds from the library. It ships October 15th and is available to preorder now for $299.

The Elements is a 13.5GB/4 DVD library that contains over 1,700 instruments, tempo synced loops, and multis designed with you in mind. It operates on both Mac and PC platforms and is delivered in Audio Unit, VST, DXi, and RTAS formats. The library comes preloaded with Kontakt Player 2 software and is ready to go out of the box as both a standalone instrument and plugin. The library can also be loaded and customized in the full version of Kontakt 2.

The Elements is a collection that will transform your work, pushing the envelope beyond today’s standard music and sound design. Since the instruments are broken up into 6 intuitive elements, you won’t waste any time browsing through unneeded sounds. These cutting-edge instruments were crafted to excite, inspire, and electrify, practically begging you to create.

The library is packed with deadly, ear scraping ambiance to serene melodic choirs; glitched out distorted beats to funky harmonic guitar licks; woofed out basses to spine bending transition impacts; traditional brass ensembles to psychedelic spirals of exotic colors. with a bunch of extra sounds made from unicorns, hobbits, and dragons, this library is sure to be fun for the whole family!

More info at www.samplelogic.com

Appears courtesy of FIXT Music.
From the Take It & Break It Remix Competition.

Own Little World Remix CD

A double CD featuring the Audesi Remix of the Celldweller track ‘Own Little World’ and 25 remixes by other artists is available to order now for $12.99 by clicking here. Official release date is June 1st, 2007. You can leave comments here. Enjoy! :)

Add To Cart

Combo Deal:

Or, indulge yourself or a friend with the Own Little World Combo Sale and get the Own Little World Remixes Double CD & $5 off the Limited Edition Own Little World Vintage Burnout T-Shirt for $47.98

Add To Cart

Track Listing:

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Besides the remix for Celldweller, you’ve also produced a fair share of your own music. As Celldweller’s sound is somewhat different from yours, how difficult was it to adapt your style of making music to fit a Celldweller remix?

Dixon: This one was a bit challenging at first. It took me about a week to come up with an idea I wanted to run with, but I’m always up for the challenge to work on something different and to take the chance to expand my musical palette. I enjoy taking an idea and twisting it around to play against peoples expectations. For example, with our ‘Own Little World’ remix, I added an erhu to the chorus, which is this crazy bowed two-stringed Chinese instrument. I had a lot of fun creating the remix, and I already have something laid down for the Round Two track, ‘Frozen.’ Ideas have been flowing from my mind before I even got access to the tracks stems!

Creating this remix could potentially gain Audesi’s own music some exposure among Celldweller’s fans. What are your hopes for Audesi? What are you looking to accomplish musically?Dixon: We would like to share what we do with as many people as possible and in return, hope for the ability to sustain ourselves by doing what we love the most! I believe there are universal goals pertaining to both Celldweller and Audesi’s music. We both enjoy blending multiple genres of music together to create something unique, as well as spending countless hours in the studio perfecting those amalgamations. I’ve noticed Celldweller fans have a wide array of musical tastes, both industrial and entirely outside. They’re also into groups like NIN, Depeche Mode, Massive Attack, New Order, Aphex Twin, The Cure, BT, and Imogen Heap. These are also just a few of the influences that we mix together to create our sound and also some similar tastes our fans share amongst each other.

What’s next for Audesi? In the past, the members of Audesi released CDs as Underground Bass Masters. What can people expect from your full-length debut in 2007?

Dixon: Our debut will encompass the gamut of electronic music while having a rock sensibility to it. I promise it won’t be another boring dance record, nor quite what you would have expected to hear from a member of the Underground Bass Masters, either. You’ll hear more vocals, guitars, bass guitar, breakbeats, straight beats, acoustic instruments, as well as some homemade synth concoctions of our own! We also hope to take the show on the road and to, in the future, venture into other avenues of music such as film scoring and producing other artists.

Earl [Audesi]

BT’s Message:

I wish I was addressing our community under different circumstances. Unfortunately an event has occurred that in my opinion warrants a unique approach that ends not only in a solution for the situation that I have found myself in, but also takes a fresh look at how we can help better serve our entire community as a whole. I have been robbed of much of my current gear, for both recording and three different live shows.

I will pay anyone either $20,000 US Dollars or my equivalent time as a producer in exchange for the name and affress of the perpetrators. This information will be more helpful to me, than just getting my gear back. Over 150k dollars of gear was stolen, including my main show computer containing the entire show for This Binary Universe. THis is priceless to me, as is my Hartmann Neuron and Dave Smith Poly-Evolver.

This list is a very fraction of what was stolen:

1. Dave Smith PolyEvolver (Serial #271) + flight case serial number (FZKB61W)
2. Hartmann Nueron + flight case – Has my Patches in it
3. MacPro 2.3Ghz Dual-core Xeon, 4gigs RAM (Serial # OWC53FB1GD4GBK), 2 hard-drives
   (10,000rpm Western Digital-WDGWD1500ADFD and 250gb harddrive)
4. Furman SPB-8C pedal board, Line6 powersupply, Boss TU-2, HBE Power, Scream w/Fat boost, Electro Harmonix Memory Man Deluxe, Morley Alligator Volume Pedal
5. Line 6 Variax 700 (Black) – wonky tuning knob and TBU tunings
6. Novation ReMote SL 61-Key
7. 2 Roland VP-550′s + flight cases (FZKB61W)
8. SE ribbon mic and Titan
9. M-audio Condenser microphones, Solaris and Luna
10. 2 sets of Shure E5 InEar monitor

As many of you know, I am interested in the human condition and the spiritual nature of all of the work that we as a community create. I am not asking for this information for retaliation. I am asking for this information and implementing an unothadox approach in the hopes of actually recovering my music and equipment.

I would like to formally initiate a community project in this forum and am interested in starting a not for profit corporation / reclamation project that serves the music community in two ways:

A simple subscription service you can sign up for to register and “thumbprint” all your gear with photo log (unique markings, etc.) And serial numbers, so if something is stolen from you and resold, either on ebay or other online retailers, or in a pawn shop, ect, it can be found and returned. Tagging (or Microchiping is another option.) More importantly that if you are an aspiring musician who isi unable to afford gear that is new organiztion collects new, old, donated, unused gear and software from musicians and manufactures, (such as discontinued and backlisted items, or if 10 percent of all recovered gear was designated for this project) and gives these to musicians and producers that can’t afford to buy them. We can also create educational wordshop opportunities where the participants could leave the workshop with the gear they need.

To start this, we would need an attorney and or law firm with expeience in setting up non-profits that would work pro-bono and many prominent musicians and companies willing to start this initiate to help create a different climate of possibility for aspiting musicians that provides opportuity for all to create. Not only do I want to protect our communities ability to make music and keep things they have earned, but also create work opportunities and workshops for people that are coming up.

In this country, I feel like amny, if not all of us feel disconnected from the possibiliy of actually effectuating real and lasting change that effects others in an impactful and empowering way. Maybe this personal setback, will make it possible for some kid who can’t afford an audio interface, some software, a computer and other things needed to make music, even one person, the opportunity to make music that brings light to a place deeply in need of it.

Please write: gear@binaryacoustics.com

Thank you.
BT

Updated.. Complete list of items stolen…

Quan /Brand/ Article /Serial Number /Model Number

1 Dave Smith, PolyEvovler, 271, n/a
3 Oddsey, Poly Evolver Case, FZKB61W, n/a
3 PC Audio Labs, AMD Dual Core Laptops, PS206FJ44701, PS206FJ44702, PS206FJ44703,
1 Nueron, Hartman,-Company out of Business n/a
1 Hartman Neuron-Case Anvil
1 Apple Intel Duo, Mac mini-1.83 Intel Core Duo, ZX652E2AJSHD,
1 Mac, 160 Gig Mini Hard Drive
1 Hard Drive Instilation Fee n/a n/a
1 Apple, Mac Mini Ram,
1 Apple, Apple Care, n/a n/a
1 M-Audio Axiom, Axiom ,61key controller,
1 Yamaha Axiom, sustain pedal, Sustain
2 Apple, Logic Audio, Dongles n/a White New
1 Apple, Dual Xeon MacPro, 2.3Ghz Dual Xeon dual-core, YM635189UQ2
1 Mac Pro 4 Gig’s of RAM, OWC53FB1GD4GBK, OWC Ram 240 Pin FB-DIMM
1 3 x 10,000 rpm hard-drives, WDGWD1500ADFD / SEAST3400630A5
1 NVIDIA Quadro Video Card, Nvida, 5400
1 LCD, Samsung 19″
black duffel bag- (Contained ALL show cables, fiber optic cables, Wirlwind Hand Made Snakes and 3 tuners)

List
1 Furman pedal board, SPB-8C
1 Line6 powersupply,
1 Boss, Tuner, TU-2
1 HBE Power Screamer w/Fat boost, n/a
1 ElectroHarmonics memory Man Deluxe , n/a
1 Alligator Volume Pedal, Morley,

6 Cables ,(1/4 monster cable connectors) Monster n/a
1 Road Ready Guitar Flight case n/a
1 Variax 700 guitar, Line 6, black
1 Line 6 Hard Case, FZKB61W
1 Novation, 61keyboard, ReMote SL
2 Roland, Vocoder, VP-550
2 VP-550 flight cases, SBK
2 yamaha VP-550 sustain pedal,
1 Gemini-MKII Microphone, SE Electronics ,
1 Titan Microphone, SE Electronics,
2 M-Audio, Microphone, Luna
2 Shure E5 In Ear Monitors, E5
6 Paintings, Various Russian Artists
4 Paintings, Brian Transeau

This wasn’t on the list. A dk. green, 6string Yamaha bass guitar with an inlayed Mother of Pearl “infinity symbol” (figure 8 ) in the lower neck, slightly off center.

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If we can find either this guitar or the Neuron, we’ve more than likely got the theives. Both of those items are rare. If you do come across either of them, or anything else, do not approach the person or establishment. Call the police!

(I’m looking for snapshots of the paintings)

Thanks for all your support!

BT

All of the remix finalists and other entries are still available to be listened to and commented on at: http://www.remix.celldweller.com/archive/browse.php

I’d like to thank everyone who voted as well as congratulate all the finalists as well as the other winners, DJ Lee and Needles Eye. Great work everyone!

Thanks so much for your support!

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I just finished producing, mixing & mastering Love in Transition for Polaroid Kiss.

Credits: Tom Bennett, Brandun Reed & Earl Dixon
Produced by: Brandun Reed & Earl Dixon
Mixed & Mastered by: Earl Dixon

Update:

Love in Transition can be purchased as part of the White Lies and White Lines single, available on iTunes. Here’s a link: