Danny Yau and Tim Byron
24/04/2011
The Annandale Hotel
1. Howard Fucked the Kids (Frank Turner cover … sort of) *
2. The Bedford Arms *
3. Messy *
4. I’ll Show You My City *
5. Last Time Around
6. I Keep Waking Up
7. Done With Love
8. The Body
9. Joe Strummer
10. The Galaxy Song
11. It’s Time To Go
* Danny Yau solo
Here is the funniest thing I’ve seen in a long time.
Is this really what the piracy debate has come down to?
—
This is a complicated issue. And first we need to define some terms.
This is not a piracy fight. It’s a debate.
And the term “Piracy” is a bad one. Because it suggest people who download illegally are “pirates”.
For me, the term “pirate” suggests someone who profits from illegal downloading. And a big, big, big majority of people who download illegally do not make money from it. They just enjoy the content.
We don’t pirate because we want to go out of our way to screw musicians, actors, directors, screenwriters etc. If anything, we pirate because we don’t want to get screwed ourselves.
So, why do we pirate?
Here’s what I can think of.
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We don’t want to wait
We don’t want to over pay
We don’t want to run around to a shop
We don’t want to search through a shop
We can’t get what we want
We don’t want a physical copy
We don’t want to pay at all
—
If you can defeat all those points above, you will end digital piracy.
It’s that simple.
But sometimes it isn’t.
—
Why must we wait?
It is worse for TV. Boardwalk Empire premieres in Australia six months after the US. Why do they make us wait for it?
Even a week is too much. The latest episode of Doctor Who had a big twist in the first ten minutes. They kept it secret till the UK broadcast, but it’s a week before the AU one. And if you wanted to keep the surprise, you would have to literally stay off the internet.
I have Doctor Who as one of my likes, and one of my news feeds. I am a fan. And as soon as I logged onto my Twitter, my Google and my Facebook, I saw the twist. Luckily, I downloaded and enjoyed the episode already.
I didn’t do this in the UK. I didn’t watch it on TV their either, but the second after the episode finishes, it is available to watch, free and on demand, on BBC’s iPlayer. I would say that there is no downloading of Doctor Who in the UK at all. Simple none.
—
Why must we over-pay?
Books are full price in digital, and it’s cheaper to buy them in shops mostly. DVDs can fall into this trap – big movies selling for £3 in the UK, but £15 on iTunes.
And that’s digital vs. digital. Paying $30 for an album for one track? Please. Who wants to do that? Then if you have advanced tastes, there’s the imports game. We’re talking too much money – and we know you are ripping us off.
—
Why must we go to a shop?
Video stores and CD shops are going if not gone. The video above suggests we should buy DVDs because they are better. How do I even do that? How do most people do that?
And why get a DVD and sit through trailers and crap? The video above suggests that downloading is dodgy and takes a long time. That has not been my experience at all. It’s easy, fast and reliable. Why can’t film companies be like that?
Especially as you still screw me with region codes!
—
Why must we dig through a shop?
What stores that are left are badly stocked. Where the internet is an infinite shelf.
Even if you live near a store. Even if you live IN a store. Will that store have everything you want?
—
Why can’t we get what we want?
Why the fuck is Nashville not available on DVD here? Why did I have to search high and low for Sweet Inspiration, the Songs of Dan Penn and Spooner Oldman on CD? All those sweet Criterion DVDs….unavailable.
How can I get them then? Well, why they are right here online. At my fingertips.
And let’s go beyond official releases. The internet has such great live sessions, bootlegs and more. I want to hear it – why can’t I?
And then there’s TV. Why can’t I watch the Daily Show? Because of some archaic contract and red tape?
—
Why must we own physical copies?
I have thousands of good CDs on crap jewelcases. I have ripped them, and thrown away the cases, keeping the discs and booklets, for a lot of them. You want me to go buy some more jewel cases now?
I watch and listen to far more now than my house can fit. We have seen how much stuff is out there (thanks internet). You expect every home to own every CD and DVD? Insane.
—
Why must we pay at all?
This is the tricky one.
I think most people would like it if the people who created the things they’ve enjoyed gets paid for it.
But we don’t necessarily want to be the ones who pay them.
But there are ways of hiding that cost. Advertising. Subscriptions.
There’s no easy answer to this one, but think of it from another angle.
Can we really go back to a model where we pay for everything individually? We are just into too much music and TV these days.
—
My 8 points for why we pirate. We need a solution that covers them, and piracy would end. A global BBC iplayer. With every show ever. As soon as they are released. Ad supported perhaps? Or subscriptions.
The solution is not that impossible. We can almost see it. Let’s go for it.
Or else the world will just keep on downloading anyway.
—
UPDATE – James rightly points out that another reason to pirate is so you don’t put up with that stupid trailer to not pirate just to watch a DVD you bought.
I have to say, this expands out into another reason it is not easy. Stupid trailers and ads are coming into DVDs. Stupid menus I never liked. And then just the fact the DVDs might be a box downstairs. Sure, I can go get it, pop it in the DVD player, wait for it to load, play me an anti-piracy ad, navigate the menu and make it to my show.
Or I wish I could have subscribed to something where I can just type in a name and click it and play.
—
That video above is so bad. And it misses the point completely. And the point is this.
Piracy is easy.
And we like easy.
If there was something easier than piracy, we would take it.
But it’s not as hard as that exageratted nerd in the video. And it’s about the content. I’ve watched downloaded TV shows with my friends in a living room and enjoyed it as much as a DVD.
People often ask – how do you compete with free?
The answer is you’re not.
You’re competing with easy.
—
Slashfilm podcast about the PSA video – http://www.slashfilm.com/filmcast-dark-ep-143-antipiracy-psas-tragedy-commons-guest-scott-mendelson-mendelsons-memos/
Amazon opened up a Pandora’s box a few weeks ago in the US. They offered a “cloud service” to their customers for music. A 5GB (or 20GB with conditions) “locker” where you can upload your music and stream it back to your devices. It opened up a larger debate about the legal issues – what new rules are needed in this new space.
But does it matter? Will technology once again speed past the ability for lawyers to make decisions. The conversations around cloud computing – are they the right ones?
And the fight over the rules for music – how does it effect the internet as a whole? Are we short changing the idea of the cloud for something as small as music?
—
Tech heads have been talking about “cloud” computing for a long time. But it’s been with us for a while now – in the form of webmail. No need to download your emails to a computer – it’s all online to be accessed from any net capable device. That is the idea behind Amazon’s service – for music.
Record companies and Amazon immediately locked horns. Amazon didn’t seek permission from labels to do this – they just did it. Whereas Apple and Google have been talking to labels for months about doing the same thing.
This has good and bad consequences. Good that progress is made by those willing to drag the rest of the world to it. Bad that the pressure is on and some snap judgements could be made in hot blood.
I will say this – at this level of business, and with the money at stake, it’s pretty silly to imagine any new business ventures involving music can be done without talking to lawyers. Which makes Amazon’s move much more interesting. Is it bravery, or bravado? Have they decided this is the way the world is going, and they might as well get there first?
—
It is the way the world is going, and it’s interesting once again that the fight is over music when it could be over anything. And it will affect everything.
Cloud computing should ultimately stream anything. Documents, videos, books and more. The ramifications for what Amazon is doing will affect everyone. The laws put in place now will govern all other industries.
It’s surprising that it’s left to music lawyers to clean this up. With the record companies barely the bones of what they once were, are they really the best team to be doing representing all content? Especially in their desperate state?
And like piracy before, will we wait another ten years before the might of the TV and film studios get involved? Or books?
Because here’s the problem – if the cloud is our only way to “own” content, should we be paying for each play? Or should there be ads in that space. Should everyone have access to my locker to see what I bought so they can advertise to me?
Above and beyond retail (like Amazon) and industry (like the Music Industry), who is protecting the consumers?
—
Another big pro for cloud computing is we don’t have to worry if we drop a harddrive on the ground. My friend Bret recently took his hard drive into work to copy a few things and ended up corrupting it somehow. It is this sort of stuff that will seem as hokey as those circular dialers on telephone. The idea of losing a file – ever – will be gone.
This is a wonderful thing – yet we still have to argue about red tape.
What the hell are these companies complaining about?
—
It’s a bigger issue than music.
I have seen some discussion about how “cloud computing” validates piracy. It seems a petty thing when the ideas around ownership are challenged.
Music is also in a unique place when it comes to the idea of ownership. It is one of the few “media” we are used to owning. For decades, the music industry has fed itself on the revenues of sales – music fans buying a record or CD outright, playing it as many times as they wish.
In TV and film, this is new. Movies still make money at the cinemas, and TV on the box (although that money is quickly going away). We as consumers don’t really have that sense of ownership with movies. Many of us are happy to watch a film and not buy it. And then there are years of video rentals. This is a bit more like what music companies want from streaming – a bit of money per play, not per customer.
Then there’s books. Libraries have started to stock e-books! And the idea of accessing a book for free for a read has been around for centuries. Should publishers get money per “play” in the digital era?
Everything in the digital world comes down to ones and zeros. Books, films and music are all the same. All can be placed in a cloud.
We approach each media differently, but someone will have to come up with a rule that fits everyone. And someone is not going to be happy.
—
Of course, it all comes down to money. A recent Guardian article (link) published that Lady Gaga made only £167 for 1 million plays of Pokerface on Spotify. A figure used by recrd companies to show how unviable streaming and the “cloud” space are.
But lets unpack that figure. These are PLAYS, not SALES. In the CD era, how many times do you think people would have listened to this track per sale? Once? Twice? Ten times? Considering how beloved she is, and how some rabid fans probably listened every day, lets say it was ten plays. That’s 100K of listeners for £167.
Still seems like very little, but Spotify only has 1 million customers anyway (as of March this year). Might seem like a lot, but last year Apple had 50 million. Facebook has 500 million. We are dealing with global figures, and huge internet properties.
Think of it this way. If there was ONLY a Spotify version of Pokerface, worldwide – what would the plays be?
Would it be 500 million users? Lets follow our above formula (one in ten Spotify users listened to Pokerface ten times).
500 million plays.
500 x £167.
£83,500 for one track.
Now forget it’s Lady Gaga for a second. Does that not seem like a kind of reasonable amount of money for one hit pop song? We are supposed to be moving away from flash-in-the-pan one hit wonders. And Gaga – with many singles, touring, YouTube royalties, publishing etc – sounds like it’s leading to a reasonable pay day – not a ridiculous one.
But we are so worried about now. And now isn’t going to matter in a couple of years for music. Everyone else will fly by us, and we will still be arguing about rates and royalties still. I looke at Metallica’s continued boycott of iTunes and laugh. And wonder if the entire music industry will go the way of Metallica.
—
There’s still a long way to go. Amazon’s opening salvo has it’s limits. It doesn’t play on Apple devices for example.
But it’s a start. And it’s a start that could get stifled really early. And push back cloud computing for a few years – or hamper it with stupid licensing rules forever. Luckily, I have faith in the piracy and boffins sector to circumvent any rules. With any luck, industries will remain short sighted about technology loopholes.
So if someone doesn’t build lockers for us, we will start building them ourselves. The beauty of the open internet.
—
Technology moves on. We can see this now, more than ever.
Yet big companies, especially in entertainment, still try to hamper progress. They have their reasons – money, rights – but they are trying to hold back a wave.
It’s time to ride the wave, and while you’re on the beach metaphor, look up and see how wonderful the clouds look.
—
Spotify sales article in the Guardian – [http://www.guardian.co.uk/music/2010/apr/18/sam-leith-downloading-money-spotify]
Apple’s iTunes number – [http://www.informationweek.com/news/storage/virtualization/225800173]
Spotofy’s One Million users – [http://www.spotify.com/int/blog/archives/2011/03/08/spotify-reaches-one-million-subscribers]
Most people I know are generally caring for the environment. They don’t litter, they make some effort to recycle, they care about the planet (Liberal voters aside). But we are nibbling away at the edges when we should have swallowed the problem whole in some areas. The biggest one is paper – and what is stopping us from becoming a paperless society.
—
I love the term paperless. And I love the idea of it. God knows how many trees die for printing every day.
Digital ink should be the perfect solution to the paper problem. The computing tablets and e-book readers makes that solution even perfect-er. There will always be those who long for a physical book. But many wont care.
For my mind, e-book readers now are ready for the mainstream. They are mostly pretty good. Simple and powerful enough for prime time. A lot of people have them, of course, but they are far from ubiquitous. And even though the technology is there, there are many things still lacking in the e-books world.
Worst of all is the lack of actual e-books. Apple’s revolutionary iPad is great, except for the almost non existence of books on their store. And then there is the pricing. Physical books have been bargain basement fodder for years. But now they are back at full price in the digital world. When a book is not on an e-store, or it’s more expensive than the physical, then we are moving away from our goal of the paperless society.
—
When people get their backs up about e-books, and missing a physical copy, they think of well loved stories in beautiful editions. But not all books are beautifully bound volumes of Hamlet.
Magazines. Comic books. Instruction manuals. ANYTHING. Like I said, e-books are ready for all this content, but for many reasons, print companies of all sorts are slow to get their act together.
But they face a growing piracy scene. Magazines, comics, and even computing manuals are all online if you can dig around illegal download sites. Which shows people are using them. And once that genie is out of the bottle, it’s tough to put him back in.
It’s the same old red tape that has crippled music – royalties, contracts, pricing, rights. And if they don’t get their act together, piracy will.
—
Books, magazines et al are well and good. But at least there is some thought and some movement towards going paperless there. But Look around at your life and see how much paper is around you. And ask why that needed to be printed out.
The worse for me is receipts. And it is yet another area that Apple is innovating. Go into an Apple store and they can email you your receipt. No need to print it out and stick it in your wallet for easy losing later. And no trees lost. Some people claim we need physical receipts or else they are not valid. But again, I get my iTunes receipts by email and don’t print them out.
It brings up the people problem in the paperless mission. Some people still want paper because they think it’s more ‘real’. This of course, makes no sense. If I was going to doctor a receipt, I could doctor it then print it out anyway. Some perceive paper as something that is solid and forever, when I think the opposite is true. Files are backed up so many times now. And you can’t destroy a word doc in the washing machine.
Then there are people who still need to get faxes. FAXES! It’s 2011! The main reason being the need for a signature. Digital signatures are slowly becoming accepted. But even then, you need to scan in your own signature and attach it to badly set-up word docs (something I’ve done a lot of). I always try to email when I can. In fact, I made a hard line in my old department to not send faxes and not do business with people who need faxes.
One UK venue were particularly insistent on a fax, and we did not pay them for six months, with full support of my old management. I understand some people still use faxes, and that you have to cater to the stupid. But if fax is the ONLY way you do business, you don’t deserve to do business. Frankly, fuck you.
—
Receipts might seem like a small thing, but similar issues arise with business cards, train tickets and other small bits of paper.
Business cards are utterly redundant these days. They are used once, to enter contacts into an email for the first time. Once that email is set and the connection is made, the card is never needed again. Yet, we still make them. Because it is easier to hand someone a card.
How do we get around it? Sure, I can text my details but that’s cumbersome also. But at the end of the day, I just want to get people’s details into my smartphone’s contact list. Perhaps there is a bluetooth solution. At the end of a meeting, you can scan for what digital “cards” are available nearby (i.e. Everyone in the board room), and select the ones you want.
Maybe there can we a web solution. The way bands could, for a while, say, check out our MySpace. We are called Some Band. And you would know to go to MySpace.com/SomeBand to find them. That might be too much effort for the receiver, and maybe the card-giver wants more privacy. But those issues could be worked out. If we tried.
What is clear is there is a need to transfer “Small Documents” between people. Perhaps email is not even the way to go. I am really leaning towards a net work solution.
“I am going to send your my reciept/my card to the cloud. What is your Small Docs pin so I can send it to you”. I use an app on my phone that finds it in a click or two and downloads it for later use.
That technology all exists today.
—
The one that really bugs me is train and bus tickets. I have, in only a few short months in Sydney, clocked up hundreds of these. Some cities in the world have excellent scanner card systems instead, and that’s what we want.
But the ticket system brings up the most important hurdle of paperless. The initial cost. How much would it be to get rid of all those paper machines at train stations in favour of a scanner card system? Millions if not billions I assume.
But what is the cost to not do that? I think of the rolls and rolls of ticket machine cards delivered a day, and how that seems hopelessly outdated, even today.
Big companies do not care about making their services paperless (Apple is an exception). Because there is no reason to.
—
Do even people really care about Paperless?
Maybe not, but they should. We are really being too careless about paper. And with a bit of thinking, we can solve it. What do those bits of paper do anyway? Sure, keep Hamlet on the shelf, but everything else? It’s the everything else that is the problem.
I think there are really simple ways to start. For me, when I see people printing out a large receipt – say at an electronics store – I ask for them to email me instead. Of course they will usually say no. But I ask anyway. Second, I don’t accept business cards anymore. I actually find myself sometimes telling people to find me on twitter. But I usually take people’s numbers and give them a missed call.
The environment and technology sometimes seem naturally at odds. But with a bit of thought and a change in thinking, we can walk towards a world where we enjoy the benefits of both. And those steps can be very, very small.
I am supporting LAZY SUSAN at the ANNANDALE HOTEL, APRIL 24th.
Joining me on the night will be Tim Byron, making it another semi-reunion for the Reservations.
LAZY SUSAN are performing the entire LONG LOST album from start to finish. It includes massive hits like Bobby Fischer, Canada and Clumsy. I used to play in Lazy Susan, and their new record, which I don’t play on, is oddly fantastic. You can listen to some tracks below, including the single Find Me A Way Back Into Your Heart.
Official website – http://www.lazy-susan.net
Those who enjoy watching me perform but hate my songs should come see The Aerial Maps. I have joined that band as extra hands to help them recreate their fantastic album The Sunset Park, which is released later this year.
My first gig is on May 7th at the Basement as part of a big night for their label Popboomerang. All the details are here – http://www.popboomerang.com
The first single, also called The Sunset Park, is below.
Finally – I will probably be performing a couple of songs by that you can download – free – here http://leapbound.wordpress.com/the-reservations
Yesterday was another day of recording album 3.
Still at Adrian’s studio at Double Bay, we came up with basslines for several songs and cleaned up some of the work we did previously.
This method of recording is very new to me. In the past I have been over-prepared. This time I am writing stuff on the spot. Hours wasted on a bassline that didn’t work for I Just Wanna See You, before just deciding on something simple, and using the same old basslines I’ve used before. I guess there is something to be said for falling back on instincts when approaching a recording like this.
That said, some really good stuff came from improvising. A mellotron line for The Bedford Arms and a walking bassline for Done With Love came out very well.
I initially wanted to work with sample drums only. Having been a bit obsessed by LCD Soundsystem (RIP) and simple recordings of recent Paul Westerberg, I figured real sounds were not important as long as the songs were there. But it’s looking like a real drummer will need to be drafted in, and proper drums recorded.
So for the moment, we are stuck on this drums impasse.
On the other hand, one Untitled song I’ve pretty much decided will get the flick. A finished tracklisting is getting closer.
I consider myself, pretentiously, an international citizen. I speak a couple of languages and I’m learning another. That, coupled with travel has made me aware of what I call the “Treachery of English”. Why is technology so inherently English?
In the futuristic TV show Firefly, everyone speaks the only two languages that are left – English and Chinese. It doesn’t seem so much like science fiction anymore.
It seems an odd by-product of the internationalisation of our culture. That language seems to be moving to a Highlander model – there can be only one.
—
Digital success favours the English. How many great digital products have come from non-English properties? Perhaps only Spotify. Google, Facebook, Twitter, eBay, YouTube, etc. All from English speaking countries (mainly the US). No wonder some countries see the internet itself as Western Imperialism.
How did we get here?
Sometimes the language itself is the problem. I worked for two years on a project to create a Chinese version of a website and was thrown head first into the problems of double byte. After we spent thousands, we would have had to rebuild the whole thing from scratch.
URLs are in English. HTML uses Roman characters. The whole internet would have to be reinvented to make it otherwise. To work in the digital space you have to learn English. And sadly, this battle may have been fought and lost. Maybe some future iteration of HMTL may change it but I think not.
But there is a bigger threat. That framework of English washes down river, with major consequences.
—
New technologies start in English or Roman characters. With luck they expand futher, but usually they don’t. Twitter is reliant on English. iTunes only has one store that displays non Roman characters – Japanese. And most computers can’t disply it correctly because it uses a plugin for Windows. Even the Chinese keyboard on an iPhone, a device of infinite possibilities, is clumsy.
But it isn’t just east versus west.
Everything starts with one language – English. How far down the list is Danish? Czech? Or French Canadian? These are the languages that are dying out.
—
These smaller languages always get screwed. Movies, even big tentpole ones, don’t get translated into many languages. You might get a French, Chinese or German, but Serbian?
But here is the point of all this:
The digital revolution should destroy these market concerns.
We can reach anyone who can speak any language – online.
I am going to use Harry Potter as a barometer for languages. Those books were published in over 65 languages (including language variations like French Canadian, Cantonese and more). This says to me that there is a) a market, no matter how small and b) a translator probably looking for work.
Point a), the small market, should be big enough to support the zero printing cost of digital. And hopefully the profits from that small market can support the wages of Mr b).
And if that market is there, and it’s attended to and supported – it can grow
—
Then there are the books that already exist. For some reason, my iTunes/iBook account doesn’t let me buy any French books. Why? Why can’t I get the Serbian digital version of Harry Potter. Or at least the French one?
Like most things, it’s a hangover from the old world. Why would you print up French Harry Potters in the UK, when there is a small audience for it? But now it’s clicks of a button, the changing of territory rights in a table. Yet no one is looking at this. Or worse, someone is still thinking it’s not worth their time.
This might horrify right wingers who believe in one language for one country. But I believe otherwise. How great to be able to access books, movies and music in their original language.
Film, books and music companies are bleeding money. And online sales are healthy, but they are still missing out on a massive financial trick. All because we are still used to promoting and selling one language version in one country. Everything else is a niche market.
If we are all looking for money, surely catering to all language speakers everywhere is the first step.
—
Let’s look at it from another angle. I want to buy Roald Dahl’s works in French.
It exists. It’s been digitised. iTunes has it on their servers. I have a credit card. You want my money. I want to give it to them.
What’s the hold up?
—
How do we avoid the vision of the future from Firefly? How do we stop culture from sliding into a single language monotone?
We have to make the internet admit that there is more than just English. And the underused, under appreciated non English market could be a critical key in making digital products more profitable.
It’s a world wide web after all. Lets reflect the whole world.
Finally. Music is saved.
When I was young, I would program the VCR for my family home. I don’t think this was a rare occurrence. Most kids I know were better than their parents at it. They were old and didn’t understand how these new machines work.
Years later, I realised that I didn’t know how to tune a VCR anymore. The technology passed me by. I would sit there holding a tune button on the player. But now it was on the remote. And little cousins of mine were better than it than me.
For years this thought has haunted me ever since.
What if technology passes me by completely? How do I stop it?
—
The idea of “digital retirement” is taking, ironically, some strides in my life. Having just turned 30, many of my friends are wary and against Twitter. They just don’t ‘get’ it.
What is annoying is the arrogance of this statement. It’s almost as if they’re saying “Hmmm, I think the world is wrong on this one.” When the opposite is true. It is the point where you have retired from the digital world.
How does this happen?
There’s a Douglas Adams quote that is often used out of context:
– Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
– Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
– Anything invented after you’re thirty-five is against the natural order of things.
Adams used this in a piece about technology, and the DANGERS of perceiving things as wrong or weird just because you happen to be born at the wrong time for it.
—
But there is a deeper reason tied to another old quote.
You can’t teach an old dog new tricks.
My problem with the VCR came because I already learnt how to program a VCR. And it is harder to forget something than it is to learn something.
Most people I’ve spoken to will not get a different phone from an iPhone on their next upgrade. The main reason seems to be – I can’t go back. Regardless on where you stand on the iPhone, learning a whole new mobile operating system is a pain. I was once given a Sony Ericsson phone for free, with a camera. And kept my old two colour camera-less Nokia because it was too hard to learn a new thing.
This is an important side point. People can get stuck in their ways. Apple has gotten there first with the iPod, iPhone and iPad. Yet they struggled for decades against Windows because who could be bothered learning a whole new operating system? The digital world – although ever changing – is ruled by habit.
The other great example is when Facebook changes anything. Oh the complaints.
But the world is going to change with or without you. And pretty soon the technology and networks that support my old Nokia (let alone that sized sim card) will be gone completely. Do I rally against the future? Is it against the natural order of things?
—
If there is such a thing as “digital retirement”, something I personally want to avoid at all costs, then it comes from “digital fatigue”. That all this new technology is getting too much. And technology just grows faster and faster.
So, the way to defeat it might be the thing that keeps normal retirement and fatigue at bay.
Exercise.
Try new things. Keep active in the digital space. Try out new things. Get the blood flowing in those muscles.
The people I’ve met who I think are the best thinkers, and are ahead of the game, are naturally curious. And they have dozens of logins to try out every new service they hear about. And they don’t always understand them, but who does.
You don’t have to love it – the general opinion of chatroulette was that it was crap and a fad. Most people agreed, but who actually tried it?
It’s that attitude I love – constant discovery.
—
I am still excited by new technology all the time. I don’t always understand it, but I don’t understand all new music either.
What I am worried about, is if I ever get to the point where I say “I don’t get it”. If I hate it – fine. If I don’t even understand, that’s a worry.
Once again – take Twitter. We all knew that the first people to hop onto that would be those with the most free time and the least to say. We saw that with mIRC. Then with forums. Then on MySpace and Facebook. But those who never thought any of those things were worth their time were never going to ‘get’ Twitter.
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I wonder what Albert Einstein would make of an iPad. Would he “get” it? I know my parents are amazed I have a French dictionary on my phone. Maybe he wouldn’t understand it – but he would understand it’s usefulness – maybe? Or maybe it would be too much for him.
But that retirement is bound to happen to me. And in a way, I’m looking forward to that too. I love tech, digital and inventions. That in my lifetime there may be something so new, so different that my mind just gives up on it – that’s exciting.
Until then, there is so much to explore. And to explore FOR THE SAKE OF EXPLORING.
Travel keeps you young, they say. And adventures in new digital technology can keep digital retirement at bay too.
First two days involved just running through the songs and getting them down. We did almost everything to a click track, to make it easier to add drums, bass, or whatever else later.
We worked at Adrian’s home studio in Rose Bay. It is one of the most beautiful places in the world. Walk around from Adrian’s studio on the hill and you can see all of Sydney Harbour.
All I brought with me was my Art & Lutherie acoustic which I’ve had for 5 years now, and travelled the world with me. I also brought my Mustang bass that was not used – yet. In the era of protools, we did quite a bit of mucking around with synths and drum sounds for the demos.
We started by playing to samples, but in the end, Adrian tracked midi drums to a click. We played both live and got excellent takes that still had feel and detail.
I walked in with 18 songs. We recorded demos for 14. They are, in order:
1. Untitled 1 (It’s Never Gonna Happen)
2. The Bedford Arms
3. Done With Love
4. It’s Been Too Long
5. Untitled 2 (Meet Again)
6. Untitled 3 (I Know You)
7. Find the Sea
8. Time To Go
9. Show You My City
10. I Just Wanna See You
11. Death Disco
12. Untitled 4 (Gang Of Four)
13. Adventure
14. Victoria I
9-14 were all done on electric. I even used a Stratocaster and a Les Paul for the first time ever on a recording.
For the record, songs not tracked so far are:
15. Victoria II
16. My Life Has Been Good
17. Trace
18. Names
I am usually very good with song titles but this time around I am stuck. It’s worrying that there isn’t one clear line or idea in these songs that stick out that feels like a title. Many of those songs are cut and paste jobs from various scribbles in my notebooks. I put them in an order that makes sense. I am considering doing the Jebediah thing and just naming them something completely left field (what is Military Strongmen?).
I don’t think I’ve ever played guitar so much in one consistent sitting before. Usually in bands you can have a break. My fingers were in a lot of pain by the middle of day 2. I had to hold frozen peas in one hand. But we muddled through (woe is I).
Some songs are in states of unfinishedness. Many gaps for lyrics, and many placeholder lyrics too. I will need to live with these tapes for a bit and make notes.
I had lyrics for one song – Death Disco – that was written in the studio. I’ve never done that before, and the whole song has only two chords. But that speed and fun is why I’m working with Adrian. I don’t love recording – and I hate labouring over it. The song is about the club nights at Notting Hill Arts Club on Wednesday nights.
In the end, very exciting. Next session is just over a week away. The aim is to drill down the arrangements, finich the lyrics, start adding bass and get the songs to a point where we can start inviting people in to help.
And also think about what songs wont make it. As 3 songs come under 2 minutes, I might be able to allow 11 songs.
Photos l-r:
1. Double Bay, driving on the way to the studio. 2. Producer Adrian Deutsch. 3. My world while tracking. 4. My view of Adrian while I was recording
