That's Audio, Folks

Vlog 3

noreply@blogger.com (Joe Neirynck) — Sun, 14 Dec 2014 23:06:00 +0000

Vlog 3 from Joe Neirynck on Vimeo.

Vlog 4

noreply@blogger.com (Joe Neirynck) — Sun, 14 Dec 2014 23:01:00 +0000

vlog 4 from joe neirynck on Vimeo.

Vlog 1

noreply@blogger.com (Joe Neirynck) — Sun, 14 Dec 2014 22:59:00 +0000

Joe Neirynck Vlog 1 from Joe Neirynck on Vimeo.

noreply@blogger.com (Joe Neirynck) — Sun, 14 Dec 2014 22:55:00 +0000

vlog 2 from joe neirynck on Vimeo.

Music Documentaries

noreply@blogger.com (Joe Neirynck) — Tue, 09 Dec 2014 19:45:00 +0000

Joe Neirynck

Audio 395

Blog #2

Documentaries

With the ability to make films easier, and quality cameras becoming closer to consumer prices documentary films are coming out more and more. This has been great for the world of audio and music because information and awareness of more obscure topics are now being brought to light. Older studios are now getting attention, older bands are getting new fan bases, and new perspectives are getting gained. These documentaries may have the ability to popularize the recording arts, and pay homage to some of the major players in the industry.

Dave Grohl has been a major player in this visual resurgence of the music industry. One of the first big studio documentaries was Sound City, which he fronted. It explained the past, and the significance of the legendary studio. It included interviews with many musicians who had recorded there, as well as musicians who are pushing for a more analog approach to recording. This is the first time many fans of his groups may be even seeing the recording process and hearing about this studio where many musicians have recorded. Not long after the release of Sound City, another documentary eponymously titled, Muscle Shoals, was released and spread awareness of the great southern studio as well as information on how it formed, who recorded, and how it was done. Seeing all of the gear, and the people who were involved at these studios recall their experiences can really influence someone who may have thought music was only made on a computer and put out on iTunes.

Not only studios, but also artists themselves have experienced new awareness and fans from these documentaries. The documentaries Searching for Sugar Man, Beware of Mr. Baker, and Crossfire Hurricane have all came out recently, and all have been quality productions. You get to see artists’ perspectives on a life retrospective or a period of great creation. You can get positive and quite negative views of the artists, but there is a greater sense of connection. Interviews with their collaborators and contemporaries can be very interesting, and you can find some interesting techniques laid down on famous recordings. These films can be great resources for anyone already enjoying music or the recording arts, as well as be a launching point for new interests.

Modern audiences really seem to be moved by the visual medium, and it can serve as a bridge between multiple mediums. These documentaries give the golden age of sound to the new age of visual stimulation, and are helping older concepts gain new light, and perspectives. There are countless other great documentaries in this field I didn’t get around to mentioning, and there are more premiering all the time. Dave Grohl is premiering a new series, Sonic Highways, on HBO this week about going to and recording in many different renowned studios around the United States. With large name artists and large networks taking interest, I feel like the information will only heighten in quality and grow.

Analog Synthesizers in the Modern World

noreply@blogger.com (Joe Neirynck) — Tue, 09 Dec 2014 19:44:00 +0000

Joe Neirynck

Blog # 1

Analog Synthesizers in the Modern World

Every day in our world there is new technology being made, it can seem almost overwhelming how quickly we are moving foreword. The world of audio technology is not exempt from this wave, and daily one can find a brand new piece of gear on the common online musical wholesaler. Ipads are now becoming faders for your DAW, or controllers for your synthesizers. All these new technologies though are often an attempt replicate a classic piece of gear, without finally having it in a physical form. Some companies are still interested, and doing well though producing physical equipment, based off older technology. Neumann, Moog, and Neve are all still all making updates, or renditions to their classic lines of product, and are all often held in high regard when it comes to what matters most – the quality of the sound.

Moog recently released the Sub37. The newest update to their Phatty series of synthesizers. It uses classic technologies like voltage-controlled oscillators and the signature Moog filter. It is even equipped with a duophonic keyboard, which for analog synethzizers of this price range is basically nonexistent. In a world where plug ins reign, Moog continues to innovate with new synthesizers, based on there old works. While the price tag of the Sub37 is about 15 times the price you would pay for one plug in, Moog is still surviving and competing in the modern, often frantic, digital based world. Embraced by musicians from deadmau5 to Rush, the classic sound of the Moog is still In high demand, though the technology is based of an older form than the common digital sample based synth. Many synthesizer enthusiasts, including myself, think the analog sound contains warmth, depth and feel that plug ins can’t replicate.

Neve specializes in making boards, and channel strips. The equalizer is renowned and is on a large list of legendary albums. Many companies are attempting to make plug ins sounding like a neve channel strip, for ease of use in mastering, and to help producers speed up there flow of work. This does not stop people again though, from paying large sums of money for the actual gear. Neves rackmount channel strip, the Portico II, goes for around 3000 new online while their is a large list of nice sounding plug ins attempting to emulate the Neve sound which are much cheaper. The reason the people are willing to go through the extra work, and trial and error, as well as spend the large some of money is for sound. As anybody in the field of audio knows, the bottom line is the sound and the end result.

While workflow and convenience are extremely important, a professional desires not only good sound, but the best sound possible. It may be convenient to just throw a few compressors on some of your tracks as a VST, but if your goal is getting a good sound and you have the physical piece of equipment the plug-ins are attempting to sound like, why not take the next step? Of course it is all preference but my ear, and many others seemingly lend their tastes to the warmth of analog sound. Instead of rummaging through piles of other peoples sound designs (presets) on a vst, one can really shape the sound the sound they hear in their head with the tactical experience of working with gear. I often use vsts in the writing or basic mix stage of a project, the sheer convenience can help you get an idea down, but perfecting the idea is where the gear really comes in handy. In a simple metaphor, I would much rather wait for nice meal to cook, the consume fast food without the wait.

The Changing Industry

noreply@blogger.com (Joe Neirynck) — Tue, 09 Dec 2014 19:24:00 +0000

Joe Neirynck

Blog#3

The Changing Industry

As digital pirating becomes more prevalent, bands are looking for new ways to turn profit instead of just selling albums. It seems harder to rely on studio records to be a huge point of profit for a group. This has led though to new ways for music to be distributed and new streams of revenue for groups to capitalize. Bands are now selling live recordings for almost every show they play, selling merchandise, or utilizing a “VIP” experience to bring in extra money. The live experience is becoming more important in the music realm and bands stepping up production. Even smaller touring bands have lighting rigs or high quality soundboard recordings that they can sell.

Pretty Lights is a large touring act that sustains itself thoroughly through its live presence and merchandise. He tops many huge U.S. festival bills and tours the country playing large venues or stadiums. His strategy is based of off selling tickets and merchandise, while giving out his music to download online for free. This cuts out the middleman and gets higher quality download to fans or incoming potential fans. These fans lead to tickets sales, which help sustain the project. This formula is being taken up by many bands looking for new ways to get their music out there and make new fans. This outlook is a smart way to capitalize on the changing musical market where digital is taking over, and cut out the effect of pirating on your sales.

Merchandise is key also in the ever-changing concert market. Merchandise is a general term though; it can be a broad spectrum. Like selling T-shirts, vinyl records, stickers, pins, posters, DVD’s, and many other unlisted items. All these products give listeners something to take home and connect with, and things like stickers, shirts and pins can always act as a great avenue of promotion to people who are unaware of the band. Bands are also experimenting with premium ticket packaging and concert experiences, as well as product lines. Just this year the “Wu Tang Clan” announced they have a copy of an album that they put for bid for one listener to own. They received 5 million dollars for one record. That is a huge sum for selling one copy of a record, and is probably more than a lot of bands made on their record sales this year. This kind of premium experience promotion is going to be a big part of the future of the music business I believe as acts are looking for new ways to expand their revenue streams.

As the music business keeps changing so will the way that artists find ways to sustain themselves. Selling the band seems to be as important as selling the music now and with online media being such a prevalent factor in our lives it’s easier then ever now to promote bands on the web for not too much money. It’s imperative for the music industry to keep up with the changes in our life in order to stay afloat. Whether that’s beating online pirates or finding new ways for music to be consumed, and enjoyed.

Music Stores

noreply@blogger.com (Joe Neirynck) — Tue, 09 Dec 2014 19:22:00 +0000

Joe Neirynck

Aud 335

Blog 5

11-3-14

Music Stores Today

The Internet has changed everything in our world, and how we go about buying instruments, amps, strings, and other musical gear does not remain exempt from this revolution. Though Independent stores still exist, finding them may not be as easy as it was once before. There are many websites like sweetwater.com, musicansfriend.com, and guitarcenter.com where you can get new gear the minute it is out, at list price. All the while never handling with anyone in a physical setting. It is good and bad, the personal experience, and the act of playing and than picking your gear is non-existent through an online mail order. The pros and cons can be evened out though as many independent stores may have higher price, and much less of a selection. Like so much today, you can take the digital or analog route; it is up to your preference.

You can acquire a custom shop Fender Jazz Bass without even having to leave your couch in 2014. With websites like guitar center you can easily order more items than your car could even take home from a music shop, with immediate shipping readily available. You can choose any number of items from thousands of pages online today, as easy as you can buy shoes from Zappos. Typically you can get these items at a very reasonable marked price. Although these websites cannot give you a personal experience like a store can. You cannot get the chance to play your instrument or try out a few different styles of the item you want to find what is perfect for you. You are going in blind in a sense, and when investing lots of money, it could be thousands of dollars, that can be something many musicians find an impossible task. Some websites have “online exclusives” but many music stores have built relationships to instrument makers and will only send them their finest quality guitars or etc. It goes down to convenience, or quality.

Personally, I have always enjoyed the experience of going to a music store. I have spent thousands of dollars at Huber and Breese, and so has the rest of the group of guys I play with. I own an American Deluxe Fender Custom Shop Precision Bass that I bought on my 18^th birthday their, and they still do the tune ups on it today. My David Eden Traveler 400, which is quite a rare amp, I got at a bargain price from there too. I got to try both out and fall in love before I bought them, as well as price as well as haggle a reasonable price for a young lad with the owner on both items. It may have cost me a hundred or two hundred dollars more but I got a model of a bass that I haven’t seen online often, and guitar center didn’t stock. My finish is also of a higher quality than many other basses of the same line which is an ascetic plus that make it even easier to love. My synthesizer though is from guitar center and Huber and Breese didn’t stock it. I enjoyed the convenience as well as the two year unlimited warranty but it was a very impersonal experience. I also have bought a Sparkle drum machine from Arturia and from there and it was a very impersonal experience even within the store. So the price of convenience is quality, and the price of quality is money it seems.

Music Festivals

noreply@blogger.com (Joe Neirynck) — Tue, 09 Dec 2014 19:20:00 +0000

Joe Neirynck

The Art Institute of Michigan

AUD 395

Blog # 4

Music Festivals

Sprinting from set to set, trying to steal a spot away from the hot sun, 8 dollar beer, meeting new folks, and having the time of your and maybe a few other peoples lives. All commonplace for a single day in one of the many events on the burgeoning United States music festival scene. People are now flocking from all over the country to the festival with their personal dream line up at their dream venue. From parties in the middle of some downtown nucleus to remote camping based festivals in the mountains or in the meadows, now it seems that there is a festival or festival experience for everyone, and it is proving to be a strong positive for music and the music industry.

Every weekend of the summer there is a festival of varying size and stature. From smaller independent festivals, all the way up to Coachella or Bonaroo there is a new experience for the attendee seemingly around every corner of the country. The location, size and funding behind each festival can greatly change things around when it comes to how the festival will turn out and what the pros and cons will be. Some might have camping, while other music festivals require a potentially costly stay at a hotel. On the flipside of the coin though, shower and bathroom access camping may be, may I say, rather limited, and there is nothing like a solid shower after a long day in the hot sun. Every event has subtle pros and cons, and they are what give each different festival it’s own sense of individuality and are what make certain festivals so special to some people.

Each festivals unique flavor can draw or push away different types of music listeners. A festival dedicated to the music of the Grateful Dead will have a different crowd than Detroit Electronic Music Festival. Neither is better or worse, just whatever happens to be your taste will fit you best. Frequently now though, festivals are changing the status quo by having acts of all genres headline a bill, thus casting a larger net, as well as influence fans to expand there tastes. This blend has even influenced the musicians playing, where at many festivals bands will now swing from rockabilly to dub step in the matter of one song. The emerging festival culture is helping fans grow, and perhaps maybe music as a whole.

The utopian vibe of the festival scene is a bewildering experience that may not be for all, but it seems the number of people of whom it is for is growing every season. More festivals emerge each year, and the trend does not seem be slowing down. Bands are throwing their own festivals, as well as record labels and new music now has another fresh avenue to breakout in the United States. For many people summer is now becoming “festi season” and people are hitting the road. Whether you are at Electric Forest, or you are at Lollapalooza, there is a good time for music listeners at any part of the country nowadays. Count down the days until next “season”.

Podcast 3

noreply@blogger.com (Joe Neirynck) — Wed, 12 Nov 2014 17:01:00 +0000

Podcast 3

Podcast 2

noreply@blogger.com (Joe Neirynck) — Wed, 05 Nov 2014 16:56:00 +0000

Podcast 2

Podcast 1

noreply@blogger.com (Joe Neirynck) — Mon, 03 Nov 2014 18:40:00 +0000

Podcast 1