Trent Reznor posted yesterday that the Beastie Boys’ Ill Communication reissue is “how you sell music today”. As a rebuttal to the usual “that only works for established artists” replies, he’s followed this up with an extended post on what artists who haven’t reached the Beasties or NIN level of profile can do to get established.

NIN’s $300 deluxe edition of Ghosts sold out in under two days, grossing $750,000. The first week combined sales grossed $1.6million, despite being released for free under a Creative Commons license. (Photo CC Nick Humphries)

Having been part of a reasonably high profile band with an album released through the label system, Trent’s post reads like a list of “how I wish it had been”. Every point he makes is absolutely spot on. The article is filled with active verbs. Make. Give. Sell. Share. Release. Start. Engage. Film. This is the crux of how creators succeed in the digital age: They do things. Rather than waiting for someone else to tell them how to make money from a product that can be easily garnered for free, the people who are doing well are making it up as they go along, trying new things. You know… being creative.

As a web developer, director and general creative tech geek, Trent’s closers are especially poignant:

The database you are amassing should not be abused, but used to inform people that are interested in what you do when you have something going on – like a few shows, or a tour, or a new record, or a webcast, etc.
Have your MySpace page, but get a site outside MySpace – it’s dying and reads as cheap / generic. Remove all Flash from your website. Remove all stupid intros and load-times. MAKE IT SIMPLE TO NAVIGATE AND EASY TO FIND AND HEAR MUSIC (but don’t autoplay). Constantly update your site with content – pictures, blogs, whatever. Give people a reason to return to your site all the time. Put up a bulletin board and start a community. Engage your fans (with caution!) Make cheap videos. Film yourself talking. Play shows. Make interesting things. Get a Twitter account. Be interesting. Be real. Submit your music to blogs that may be interested. NEVER CHASE TRENDS. Utilize the multitude of tools available to you for very little cost of any – Flickr / YouTube / Vimeo / SoundCloud / Twitter etc.

Check out the rest of the article.

For digital artists, a lot of the web and technological networking comes easier than to rock bands. When a laptop is part of your rig, hopefully you understand computers better than someone who exclusively hits their instrument with sticks (SPD20s aside), because you use the computer for music regularly. Ed.: This is a simple fact – if you’re a digital artist, regardless of your instrument, you spend more time behind the screen than people who are conventional instruments – so you should have no excuse for making the most of that technology once the production and performance phase are done. -PK We’re also in the middle of a huge mobile web expansion phase. Now that everyone has web enabled computers in their pockets, what you can do while you’re out there playing shows is getting better and better; I just spent the evening configuring an online store which can be administered via its own iPhone app. If this had been available two years ago, a whole lot more CD orders would have been delivered on time.

Giving some solid metrics to bolster Trent’s advice, Michael Masnick’s (founder of Techdirt) recent presentation at the NARM 2009 conference is truly fantastic.

NARM 2009 State Of The Industry: Michael Masnick from NARM on Vimeo.

The presentation is quite long at 31 minutes, but he breaks it up with 515 slides, so it feels punchy. It expands on many of the points Trent makes, and touches on some themes we’ve been interested in here at CDM. Interestingly, he gives some revenue and sales statistics on the Nine Inch Nails “Ghosts” release: $1.6 million gross in the first week, from an album which was released for free under a Creative Commons license.

Having been quite deeply involved in the “old” way of doing things, and having experimented in the last year with faster, cheaper live performance videography and similarly streamlined “studio” production, I feel that I’m replete with the kool aid, and comfortable with a future in which I’m not looking for “a contract”. In fact, this evening I called my bandmate over and convinced him that the album we’re about to record and shoot will be released entirely under a Creative Commons Attribution license. Finished tracks and stems, music videos and source files, animation sprites, live footage, album artwork, and whatever else we create.

I’ve long believed that “free” and “open” is a big part of the future of creative industries. The label system has kept creators and fans at arms length. Last year I was a rightsholder on an album which spent a week in the top 5 sellers on iTunes in Australia. I know nothing about any of the listeners who put it there. Next album release, I want to know all of those fans by name.

Normally, pricing announcements and sales press releases bore me to tears, but this is actually news – Native Instruments is selling Komplete for July only at just US$/EUR 399, instead of $1139/EUR999.

That means if you were looking for Reaktor alone – about as good a desert island music software choice as you can find – this would be a good deal. You also get Absynth, the absurdly deep (if sometimes baffling) synth with surround sound envelopes and a workflow that could change how you think about sound, the very nice effects and loop recording in Guitar Rig, and the scriptable sampler Kontakt, as well as the Battery drum sampler and lovely Massive synth.

As recession specials go, this is a tough one to beat.

http://www.native-instruments.com/komplete5.info

In other news, we’re opening up more discussion of tools like Reaktor (among many others) to the community here on noisepages; check out Peter Dines’ recent modulations blog for thoughts on Reaktor (and the free and open source SuperCollider), or his just-formed Reaktor group, on which he asks, “what problems are you solving with Reaktor?”

CNET has a terrific interview with Rio Caraeff of Universal Music Group’s eLabs. Caraeff is a new breed of record exec – the kind of people we’d actually want running the industry. He’s a software guy and a mobile guy.

UMG digital chief on iTunes, DRM, and Android [CNET Digital Media]

The record industry has clearly seen the light on DRM, so that’s not really news, except that now you can see them saying it in public (and I imagine there has been long-running internal lobbying from those in the industry who got it long ago).

The news for me really what he has to say about the mobile space – his expertise. On iPod, he says what we don’t need is more proprietary alternatives: “I don’t think having more devices and more proprietary software or hardware in the market is the right answer.”

But most encouraging to me is how bullish he is on Google’s Android platform – and the fact that the proof is already available in the numbers available now. It seems the Web world is attracted to whatever is shiny, new, and not-ready-for-primetime, so bloggers last week forgot about Android and moved on to Palm’s (not-shipping) WebOS and Palm pre. That’s all fine and good, and WebOS certainly follows some of the same trends Android does, but let’s not lose focus just yet, right?

Universal worked with Amazon on their integrated Android store, and the results sound very impressive.

…now Amazon will tell you that Android is their single largest source of downloads from any third-party partnership that they’ve ever done. It’s a tremendous amount of consumption that we’re seeing once you integrate it seamlessly into a user experience that’s elegant and easy to use. It’s not 10 clicks. It’s very elegant and easy. We’re starting to see consumption increase significantly.

It’s early days on Android. There’s not that many out there on T-Mobile, but even with the small amount out there, they’re downloading and purchasing a ton of music over the air on T-Mobile.

This to me points to some encouraging signs:

Android has an edge for developers. Note that from a development, user experience, and deployment perspective, the Android platform was a big part of this success. You couldn’t do an Amazon store on the iPhone.

Android has legs. None of that would be meaningful if it weren’t translating to sales. But this says to me that the open Android platform can be a successful outlet, without necessarily needing a middleman like Apple. And it suggests some positive things for, say, developers selling software (or musicians doing weird, 99-cent generative music games) on the platform.

Mobile sales in general could be big for music. The whole problem for the record industry isn’t all that complicated: it’s that one medium (CDs) has been shrinking in dollar figures faster than its successor (online music) has been growing. So the industry just needs new growth. It’s encouraging to see that that could mean just selling music at reasonable prices, free of DRM. That’s a huge change from the previous plan, which appeared to be slicing 30 seconds out of a track, calling it a “ringtone,” and charging more than you would for a single.

There’s plenty worth checking out in the whole story. But this does make me feel even more excited about Android and what’s possible. The Amazon store is amazing: you buy and download tracks over the air, and then bring them back to your machine. Sure, you can do that with iTunes, and finally iTunes doesn’t have DRM on its tracks. But Amazon was able to come onto the device as a third party (working with HTC, Google, and TMobile). With Apple, the only way to get tracks back on your computer is to go through their iTunes conduit. With Amazon, you can do whatever you like. And the underlying stacks that enable the app are all open source, from the APIs to the developer tools. That’s a pretty marked difference.

Having a different mechanism for selling music could also mean that the UMG of tomorrow is very different from the UMG of yesterday. It’s certainly encouraging to think there are people at the company who see technology in the way a lot of the rest of us do. But this could also mean new opportunities for independent artists and smaller labels – and greater opportunities for everyone making music.

We’ll be looking more at the Android platform in 2009, and other trends in mobile. Now I just need to get myself a G1.

Black Friday? Cyber Monday? Who need them? The entire month of December seems to be on sale when it comes to music tech.

Christmas (and Hanukkah, for that matter) are nearly here. Whether it’s economic pressure or just some aggressive holiday pricing, there are some big deals out there that could make excellent gifts – or might just give you a nice list for shopping for yourself before or after the holidays. (Yes, it’s true: most of what readers suggested in our “gift guide” for the CDM Winter 08 special wasn’t really all that practical. But it does make a nice list of things you love.)

Here’s some of what’s on our radar screen:

Big Ticket Items Get a Break

$999 Tenori-On. In the US, at least, the Yamaha Tenori-On – the Lite Brite-style instrument tablet from innovator Toshio Iwai – gets a $200 discount. Based on reader feedback, that hardly moves it into impulse buy territory, but if you’ve been on the fence, your timing is right. Yamaha has also rolled out some very practical accessories (like a case and “survival kit” with stand), so if you know someone who owns one of these, accessories could make a nice last-minute gift.

And for the rest of us, there’s the US$20 t-shirt. You could mod that with LEDs and sensors and just let people play your chest. See the US store (curious to hear reports from The Rest of the World):

Tenori-On Store US

Moog bundles, Little Phatty break: The Moog Little Phatty is now available in Stage II Edition. (mmm, black!) It seems to have a slight street price break, down below US$1300 from a $1395 list. And to further sweeten the deal, the Moogs are presently bundled with a CP-251 control processor for feeding some analog control into your new synth. (See the video above. Really, an excuse to post this video is worth it.) In very much not a Recession Special, Moog also re-introduced the Taurus Bass Pedals.

Or, more fitting my budget at the moment, you can just get DVDs, books, and tasty apparel. Or perhaps a tattoo gift certificate; I hear the Moog fans love those.

Komplete, More Komplete – Komplete + Kore: For a limited time, AudioMIDI have bundled Kore 2 – Native Instruments’ software and controller – with the Komplete pack (basically everything NI makes on the producer/instrument side). US$895 for the total, which is what you’d normally pay for Komplete alone. You don’t need much justification here as Kore 2 doesn’t add any cost, but to me, having the physical controller and the ability to easily navigate all the NI sounds makes Komplete more manageable. (And we’re big fans of using Reaktor inside Kore, because you can easily assign controls to all your custom Reaktor creations.)

I just stumbled across AudioMIDI’s deal; we’ve heard other folks find bundles like this in stores. So it could be worth shopping around in your neck of the woods.

Cakewalk Holiday Bundles: Cakewalk is bundling extras with their software, including video tutorials and a download of pyro Audio Creator, an audio recording, editing, CD burning utility (which can itself make a nice software stocking stuffer for your Windows-using friends at $40). You can get a pretty full-blown version of their SONAR DAW for about US$299 (even though that looks more like the upgrade pricing of Pro Tools), and I see they also offer the E-MU Proteus Pack for lovers of the old E-MU racks.

Bundle pricing is different in different parts of the world, so if you’re interested in this offer, best to check your local store:

http://store.cakewalk.com/

Applied Acoustics Modeling Collection: AAS is having a sale on their lovely psychically-modeled products, so Tassman (modular environment) + Lounge Lizard (the electric piano) + Ultra Analog + String Studio (the terrific modeled string instrument) + Strum Acoustic = US$349. Check out the Modeling Collection in their store. Ableton users got treated to a couple of these instruments in Ableton-styled remakes, but if you haven’t bought those yet or don’t exclusively use Ableton or want the whole suite, this is worth a look.

Native Instruments sale: Native is offering upgrades 50% off, software bundles (including a free synth with their Audio Kontrol 1 audio interface), and other holiday deals through 12/31.

Bargain Buys

Steinway? Never heard of ‘em. The Steinway piano, photo (CC) madabandon.

Gary Garritan has a bunch of his sampled instruments on sale for US$99.99: Personal Orchestra, Jazz Big Band, and Marching Band. The sale ends 12/21, so you’ll want to get on this quick. The nice thing about these instrument packs is that they’re fairly well-focused and lightweight, so you don’t need a massive hard drive and sample-playing machine to get them running. They’re ideal, for instance, if you’re working on a score and want a quick rendition. Garritan also has the lighter “Basic Edition” of the Steinway-authorized Virtual Concert Grand. It’s 1.3GB uncompressed, so you can download it, making a perfect last-minute gift for someone (or yourself). I’ve just grabbed it myself and hope to have a review for you next week. You don’t get all the multisamples, it’s 16-bit only, and you only get the classic audience view, but I imagine this is how a lot of people use their sampled piano a lot of the time anyway. It only officially comes out Wednesday, but that gives you time for a Christmas Eve install.

Garritan Order Page [includes Christmas special]

Steinway Comparison Chart

As always, the Garritan community has done a free Christmas album:

http://garritan.com/Xmas.html

And perhaps there’s a deal on a real Steinway somewhere, too, though that doesn’t quite fit into our budget category.

Costco Meg-bundle with Snowball Mic: Costco (the US-based discount club) is generally not a place to go buy music tech gear. But they have a pretty terrific deal running right now, if you can find it. Blue Microphones’ Snowball USB mic, a convention basic dual-capsule condenser with 16-bit digital converter, is bundled with some other extras. You get Koss UR40 headphones, and Mackie’s underrated music editing workstation Tracktion 3. Given that the mic and Tracktion usually sell for $100 or more on their own, US$99 for the three is quite nice.

Snowball Mic Bundle

It’s hard to beat this as a $100 gift for newcomers you know. The Snowball isn’t the best condenser mic around by any stretch, and lacks fully-adjustable gain, but it’s a nice little mic to toss in a backpack and plug in via USB.

[Update] Fantastic Image-Line sale: Whoops, meant to mention this and didn’t in the first draft of the story! Image-Line’s software always makes a fantastic discount buy (which is why it topped our software list in the CDM Holiday Guide). But it’s an even better deal now, thanks to discounts and a free time-manipulation effect. Adrian Anders writes in comments:

Maximus & Morphine – $99 each

Every order of $99 or more comes with their new upgrade to WaveTraveler, one of those plugs in FLStudio that made Mac-heads question their loyalty. It hasn’t been announced but there’s a good chance an OS X version is in the works :D

More deals to follow.

Image-Line Sale

Peak Pro 6 Sale

The Mac-only audio editor has gotten some major upgrades to its playlist, RAM-based editing, new DSP goodies, dither modeling, another UI upgrade, and additional delivery and dynamics processing. Correction: only the upgrade pricing gets you as low as US$99. But there is a DDP export extension and free mastering plug-in with Peak Pro 6, an upgrade sale, plus other discounts:

Peak Pro 6 sale

Of course, that still leaves the “everyday low price” of Wave Editor from Audiofile Engineering at US$79, which has earned big fans like CDM contributor and game sound designer W. Brent Latta. Wave Editor has added some delivery options of its own, meaning you could easily choose either one. That makes two terrific choices on the Mac, which had traditionally been a bit behind on straight-up audio editors when compared to Windows’ Sound Forge and Audition.

Cash Back on Live

Ableton has a Holiday Special with up to $150 cash back on Live 7, Live LE, and Ableton Suite. There are some other promotions on, so well worth checking.

No promotional fees were collected in the making of this article. I do accept candy canes from readers if you happen to run into me. 

Deals by You

I’m sure I’m just scratching the surface here. Seen any great deals / discounts yourself? Picked up anything you want to share?

If you haven’t yet, do check out all we stuck in our Holiday Guide:

On Demand: CDM Winter 2008, with Gift Guide, Bending and Slicing Tutorials, More

The Monome is small and elegant, but there’s something to be said for traditional instrumental controllers like a keyboard. So why not combine them? David Phipps of the electronic jam band Sound Tribe Sector 9 did just that, and sends CDM this photo of the project in process. He’s off on a five week tour starting Friday, so it’ll be on hold for a bit, but even not-quite-done I had to share it. David writes:

i hope to bring ‘The Peaceblaster’ on tour in the fall. note the unashamed reference to our album available July 8th:)
i picked up a 5-octave fatar keybed and MKE electronics from doepfer via analog haven.  he carries 2-5 octave bare keybeds with simple channel/octave controls, all fatar (the highest quality italian-made keybeds you can get…and doepfer is the ONLY place you can order a
keybed from fatar without being a manufacturer). the 8 knobs and faders are the doepfer PKE, a super simple plug and play solution that could have been a midibox or arduino. add a edirol midi>usb cable, usb hub, and multi-voltage power supply and i’ve got one power plug, one usb
port, and midi out to drive hardware synths.
i’ve left room in the enclosure for a mac mini (or small form factor pc or linux box)…but that’ll be a stretch of my willpower to get it done.

I’d call it a keynome. (For the record, the product name monome rhymes with Ma Gnome, not Ma No May or ole.)

About that new album: it’s available independently through the artists. Their freebie add-ons are really interesting. The CD pre-order includes a coupon to watch a rehearsal online. But the Fan Pack is even better: aside from the CD, which includes fully-recycled packaging, it adds a 1GB STS9-designed flash drive with the digital album, video from DemocracyNow!, photos, screensavers, and the like, an autographed picture of the band, a handmade doll, a download coupon for a live show, a print with a box of crayons to color in your own design, a poster, a 7" vinyl, and other extras. US$99.99. Even if you’re not an STS9 fan, there are some good ideas for artists looking to make music purchases tangible again — especially if they have a fanbase this loyal. See their merch site for all the goods.

I especially like the crayons.

Previously:

Sound Tribe Sector 9 vs. Monome: Video, 8by16

Building a Custom Monome Controller, with STS9’s David Phipps

"If they enter the code CreateDigitalMusic.com in the ‘Add special instructions for the Merchant‘ field in PayPal, we’ll extend the offer until July 14th.

Not getting any promotional fees for pitching this; I’m genuinely excited about my papercraft Moog and the album! (Though I think I may have Microscopics buy me a beer if I see them…)

In other news, the band have posted a lovely short video featuring an oscilloscope; you can watch it on Create Digital Motion.

We hope to catch up with the artist, Mat Jarvis (aka Gas / High Skies), soon.

• In many circles, Metallica is no longer cool or never was cool.
• Lawyer make people MAD. Angry. Smash. (Apparently in addition to going after 60,000 pages of fans on Napster, Metallica doesn’t even like fan-made buttons.)
• Metallica is not Radiohead or Trent Reznor. (Stop the presses!)
• Even if you’re not Radiohead or Trent Reznor, you probably want your fans on your side. Pitchforks and torches tend to be a bad sign.

Of course, some might see the doomsday scenario of Internet music releases, in which fans determine that all music should be free and you can’t make money on releases any more. Big bands give away their stuff for free, the independent artist dies, music isn’t made any more, etc., etc. But given glowing fans proclaiming that they’re “glad I could shell out 40 pounds for the discbox” of In Rainbows, that seems unlikely.

And that’s the fundamental nature of fans. They’re looking for ways to give you their money so you can give them something back. Lesson learned by Metallica: don’t piss them off.

Fans Rip Metallica a New One [Wired.com Listening Post; enjoy the Napster-era parody video]

Photo: massdistraction, via Flickr.

US distributor Keyfax NewMedia reports that it has Yamaha’s Tenori-On in stock and shipping out now. (Pre-orders began at the beginning of May, but this is apparently the first the US unit has made it to our shows — unless you happened to win one from createdigitalmusic.com, that is, in April, in which case you know who you are.)

Every time I mention Tenori-On, despite the awe and lust it inspires in some musicians, someone raises the point of its somewhat retro-styled, simple sound bank. Fair enough: the minimal sounds are fantastic in the hands of creator Toshio Iwai and were specifically programmed and voiced to match his aesthetic. Other people, perhaps, not so much. So it’s interesting that reader Steven aka Nomad Cinema sends along this video (seen at top) of the Tenori-On paired with the absurdly deep luxury modular synth Kyma, along with a couple of beloved new analog synths. He writes:

In order to tap the real power of Yamaha’s new Tenori-on, it helps to pair it with external equipment capable of producing more satisfying sounds than the somewhat lackluster soundset included with the Tenori-on itself. In this video, no internal Tenori-on sounds were used whatsoever. Tenori-on is functioning purely as a sequencer with external equipment, including advanced sound-shaping from Kyma and analog synthesis from Alesis Andromeda and Dave Smith’s Prophet ‘08. Sequencer data coming from Tenori-on is processed in Ableton Live (utilizing midi scale and chord filters, as well as injecting some generative randomness) before reaching Kyma, Andromeda, and Prophet ‘08.

That to me remains the Tenori-On’s unique strength: to me it’s really an alternative step sequencer, exploded into an array of flashing lights and animated with game-like motion. This is to me also another way in which it isn’t a Monome, which feels more like an intelligent, programmable set of pads an an extension of your software, in comparison to the Tenori-On which seems to be re-imagining a giant pixel as a controller. I will be getting around to showing off some hands-on applications very soon, at long last.

Gas0095, the landmark 90s ambient release by Mat Jarvis (Gas / High Skies), is back in a remastered version. If you know the music, you’re probably already thrilled by the return of this epic sonic world; if not, even non-ambient fans are likely to get a kick out of the spacey, synthy goodness. (Best press quote: “the ideal soundtrack to an IMAX film on the history of space travel.” You had me at IMAX.)

Paul from Microscopics (the label) writes to tell us they’re sweetening the pot with a 1/8 scale Minimoog freebie for all June preorders. (Nanomoog?) It’s brilliant marketing. In Japan, rampant piracy and a general fascination with toys long ago prompted music stars to give away goodies with albums, sometimes dwarfing the size of the album itself. Oh, sure, you could grab album X off a pirate torrent stream – no toy for you. If MSN Music had given away action figures or something, I expect things would have gone differently. Next, I want to see a functioning synth bundled with an album.

Still not sold? Check out this fantastic video for the spectacular microscopic, set to “A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero.” Before Google Earth, the office of Charles and Ray Eames made this poetic statement on scale macroscopic and microscopic, one of a series of short films that came out of their studio in the post-war decades. (And you thought they just made iconic chairs.) The score fits so well with the film, you’d swear they were released together in 1977. (Also seen via Synthwire.)

Gas0095 Music Page 

Album preorder for US$16 (EUR13/GBP10) gets you the Minimoog model, instant MP3 version, free shipping, and good space karma. Also available as FLAC.

Here’s the free track, microscopic:

gas-microscopic.mp3

Updated – offer extended: If you missed getting the free Minimoog model and still want it, Microscopics have extended the offer, exclusively for Create Digital Music readers. Paul writes:

"If they enter the code CreateDigitalMusic.com in the ‘Add special instructions for the Merchant‘ field in PayPal, we’ll extend the offer until July 14th.

Let this be a lesson to you, purveyors of online music. If you do DRM-lock digital music, be prepared to continue to support it well into the future, lest users rebel. Microsoft announced earlier this year that its MSN Music service, defunct now for some time and never terribly popular, would cease to function as of August 31, 2008. This would mean that people who bought tracks from MSN Music would no longer be able to authorize files to play on new PCs and devices. The only workaround: burn to CD and re-rip.

Even on a relatively unsuccessful service, though, that caused a major outcry. Result: Microsoft has backpedaled, extending the deadline to "at least the end of 2011" and possibly even beyond. (By then, you may have to appeal to our new robotic overlords anyway, after the Great Cyber Rebellion of August 4, 2011. Oops, sorry, the people of your time aren’t supposed to know about that yet.)

The lesson here seems clear to me: the cost of DRM is ultimately exacted on the vendor. It’s especially ironic as video sellers move toward more DRM rather than less, but DRM in music seems utterly dead. And whereas the DRM controversy began as a discussion of piracy issues, it’s now centered on sales. The simple fact of the matter is, online music has proven to have real profit potential, even if it’s been slow to catch up with the late 90s CD bubble. True, DRM does live on in subscription services, though I think the comparison there isn’t entirely valid — the point of subscription models is unlimited access to music, not necessarily building permanent collections. And even there, we’ve seen a migration away from DRM, as in the streaming/purchase model on Lala.com, which I examined earlier this month.

Tomorrow night, I’ll be attending the launch party for the Wax Poetics digital download store, and they’re a print magazine for vinyl buffs, for crying out loud. (Oh yeah — guess that bit about print and vinyl being dead was also wrong.)

Conventional wisdom: 0. Music lovers: score.