Enough of the empty cheerleading. Web-only networking can have a dark side, too — and the music community can do better. Playing devil’s advocate this week to one-dimensional Web 2.0 optimism, we welcome Dave Dri, musician, producer, and founder of Segue. -PK

I write a column for a weekly street press magazine in Australia. The vast majority of the universe won’t have picked up that magazine, of course. But my topic this week has been bouncing around Interwebs, cafes, and clubs like an alarm clock, waking the electronic music community from a happy slumber. The cause for alarm: the dire state of expectations amongst electronic music producers, digital labels and online stores.

Thanks For The Add!!!

For the host of fresh-faced producers who know only digital labels and online stores, the process of making and releasing music is relatively seamless, and entirely virtual. Countless producers have access to affordable computing power, an endless choice of software, and the ease of uploading to sites like Myspace and Purevolume. For much of this generation, the idea of marketing begins and ends with “thanks for the add!!”. Even veteran producers and performers can be lulled into the steady hypnosis of the Web and its links, emails and forum posts.

The process of song writing often finds a global audience almost as soon as one can come up with a catchy, if eventually regrettable, artist name and an upload of the latest renders. Imagine their surprise when a weekend of link farming across MySpace yields a reply from a digital record label showing interest in one or more tracks. Some emails bounce back and forth, the artist agrees to a 50% share of the profits and, soon enough, the label has uploaded a new release to Beatport. What’s not to love about this system? The producer feels validated as a “real life producer guy”, the label has another release on its books and the wheels of the music industry keep rolling.

The Back In My Day Bit

What’s wrong with this process is, basically, everything. As a contrast, let’s look at the previous generation of producers and live acts. This generation existed on the cusp of technology change and would have its feet grounded in the almost unthinkable days prior to cry of “thanks for the add!!!” These artists swapped tracks on CD-R’s with other producers in their local area and shopped and networked with local records stores by virtue of their primary access to local music alone. They stressed over refining and releasing actual EPs. They met, partied, and bought and sold music with other DJ’s, producers, promoters and music press. They refined their DJ skills or live performances and pushed music as a part of a growing local scene. They knew the local street press writers and sent out promos, hung up posters and generally interacted with the real world. IRL – in real life.

One might suggest that while the younger producers are adding each other to friend lists, the veteran live acts and producers are still out working the venues, pushing discs into the hands of promoters, and doing such wild things as asking for interviews and promotions in street press. As I asked a Web forum recently, guess what the proportion is between digital labels and producers sending MySpace and Facebook messages, versus those actually sending well-written press releases and calling to ask for interviews and promotional assistance? The answer is pretty dire, and quite telling.

Take The Red Pill

If anything positive can be taken from the state of the current industry, then it should be a revisiting of the basic ideas of the music industry. Artists should be backing up their passion for music by investing more efforts into creating better music, and pursuing the best deals from the best labels by building their profile through real-world networking and performances. Labels should be sourcing the best artists, artists whoare actually working to push their own music in the real world, and developing them with the aid of a strong network of industry captains, DJs, credible promoters and all the existing and fringe music media. That means actually writing press releases, actually getting out and meeting people, and following up important emails with phone calls. Most importantly, it’s asking for coverage across the full spectrum of media and constantly developing reasons why the act deserves it.

Really, one might say it just boils down to effort. Why an artist wants to give music to a label that spends little effort promoting a release is as hard to fathom as a label wanting to sign an artist who spends little effort creating their art and profile. Maybe your local community and musical genre mirrors these examples; maybe not. But electronic music has little to lose and everything to gain from more effort and more real-world local community.

Oh — and, before I forget, thanks for the add!

Ed.: Now, of course, I’m not going to slam online communities, seeing as I, erm, run one. But I kept thinking while reading Dave’s article how much online tools can help power real-world connections. We’ve had extraordinary opportunities getting together for events like Handmade Music. I still swap CDs. (Bet your laptop still has a CD burner, huh? It runs at, what, 60x now?) I hate press releases, even when they’re well-written. But I love real-world connections.

That’s, of course, just the beginning. So to reframe Dave’s challenge, how can we use online tools to make meatspace connections easier and more powerful, for indie artists and labels alike? How can we start raising expectations again? -PK

audnoyz – 36 – Male – UK [MySpace.com]

I submit in this age of “in the box” for some, where all is manipulatable and nothing is beyond reproach, the same holds true for noise found or contrived. All is art, all is beauty. ode to aud :-/ More Musings: The pub landlord rules! -Pro Tools: the mix bus sounds great through my Neve -Steinberg: what the fuck happened to you? -Sonar: time has been good to you -Live: awesome, awesome, awesome -DP: don’t get the respect it deserves- -Props for props- -Dangerous: now that’s some good noise- -Korg: CHAOS rules! -Adams: the best!- -Saxonia: German precision- Go SPL before play with your big knob- Liquid channel:too much- Duende:the sound is classic the UI could use some modernization- -RME: worth the extra quid- -64bit don’t mean shit on the dance floor- -Wavelab rules- Focusrite: RED!- TOFT: great stuff- Apogee:little brittle w/o nuts- Benchmark:solid-*** Wedlock is like a dongle*** +Mac still got it over PC+ Macbooks awesome, and you can you warm your tea on them too–Windows: why can’t you remember I already installed via that USB port already!- Mac towers: what you say I did not catch that, the fan is ON…- Robin Trower deserves more!- Jobs: Brilliant! Create a culture that hates Gates, that pays a premium for superior technology? while YOU profit from the biggest proprietary scheme ever devised…. Don’t get me wrong, I LOVE my mac, I just hate Apple!– Ipod: freepass on this one… wait a minute, I got rid of my vinal for cassette because it was better, then to CD cuz it sounds better, now you want me to drop my CDs for inferior sound quality… BRILLIANT!

“Wedlock is like a dongle”, appearing on a t-shirt near you. (Perhaps for some it’s more like challenge-response authorization. Well, unless you pirated your significant other.)

The Web holds huge potential for music sharing and music discovery, but figuring out how to make that potential work — and how to navigate copyright and licensing laws in the process – has been a major challenge. This week, the creators of the website Mixaloo promised to “bring mix tapes into the digital age.” Whether you buy into that concept or not, or their particular implementation, the site does demonstrate both some of the opportunities and legal hurdles in Web sharing. They also inherit the closed model supported by labels (no full streams, previews only, DRM), but already that’s changing (MP3, and the promise, hopefully, of full-length tracks soon). It’s like a microcosm of the whole business at the moment.

Mixaloo.com

I spoke to the founders shortly before launch, and they described how their approach differs from the online radio model, which is constrained in part by the law:

There’s the streaming radio camp … you have a minimum of forty tracks, you can’t have the same artist twice in a row, and then you get into the whole mess of royalties. Then there’s the way we’re going — user-generated albums. And we like that because it’s personalized.”

The basic model:

• 10 or more tracks on the “mix tape”
• Mix your album from 3.5 million + tracks.
• Majors and indie music — the founders say they have “deals with all the major labels” but also “a ton of independent aggregators like CD Baby, The Orchard, and Iota
• Embed players and market mixes on Blogger, MySpace, Facebook, Friendster, etc.
• Sell tracks via any of your players and earn a 50% commission
• For now, 30-second previews — but hopefully that will change? (more in a moment)

To make it easier to compile mixes, the tool incorporates a recommendation engine, so when you select a track, Mixaloo guesses other likely artists and tracks. You can also add custom feedback to the engine if you disagree, which is a badly-needed outlet missing from a lot of online music sites. When you’re ready to purchase tracks, the major option now is Windows Media files with PlaysForSure DRM — but that’s changing. 600,000 tracks are already on DRM-free MP3, that number is growing, and the service gives preference to MP3 over WMA. (The big picture: I think DRM might remain for subscription tracks or rental, but purchases will likely all be DRM-free in the near future via any outlet that wants to stay in business.)

So that’s the good news — now the deal-killer. For now, Mixaloo supports only 30-second previews, which to me pretty much defeats the purpose. (Mixaloo says that “the feedback we’ve gotten across the board has been positive” after several thousand users on the beta, but I think the service will fail to catch on until they can get full-length streams.) They do say full-length tracks are something they’re talking to the labels about, without making any specific promises.

That said, as we discussed in regards to Pandora, there is a potential for artists to make these tools work for them. Using playlists of artists you like, artists who influenced you, artists like you (artists who are copying you?) could be a great promotional tool. Why wait for iTunes to call and make you a celebrity playlist author when you can dub yourself a celebrity? (Seriously.)

The trick with all of this is not necessarily to sign with a major label, but simply to get hooked up with the right online distribution outlets. Once you do that, you can connected with any number of online music outlets. There’s no saying whether Mixaloo will or won’t take off, but you’ve got plenty of other online tools to try. The Mixaloo team advises that “for an independent artist, the path of least resistance would be to register with a CD Baby for digital distribution,” while indie labels (of which we have a few reading this site) might work through Iota Music Publishers or The Orchard. And this approach also works for sites like Pandora; see our interview there for thoughts about how people might use these various tools, and how musicians could benefit from them.

Previously:

Pandora’s Founder on Decoding Taste and Promoting Indie Music

MySpace in this case is networking-only, since there are already official and unofficial Cakewalk forums out there. In other news, I’m fairly certain this is not the Cakewalk software page.

MySpace has started up some discussions on the CDM Forums. Some of you love it; some of you hate it. (See the CDMers on MySpace thread.) But many of you are there, and, of course, we encourage you to share your pages on our forums.

So, should other apps do this, too? (Perhaps led by users rather than the software makers?) And should I fire up a CDM MySpace page? Will the MySpace phenomenon really continue?