Chris Randall: Musician, Writer, User Interface Designer, Inventor, Photographer, Complainer. Not necessarily in that order.
July 16, 2016
by Chris Randall
Super busy this week shipping the restock of Sequencer 1, the initial stock of Shapes, and generally moving cardboard around my living room. So just a shorty.
Note that I will be in PDX on August 6th at 2:30pm at Control Voltage, along with Scott Jeager of Industrial Music Electronics. Facebook event page is here.
December 15, 2014
by Chris Randall
So I have this idea of doing a monthly YouTube video.
"PARTY!!!" you all scream at the top of your lungs! You're all a bunch of cynics, and frankly I'm amazed I'm friends with you, because I'm not cynical at all.
Anyhow, here's my idea: you all anonymously submit questions via Google Moderator, and I'll answer the top ten in a live-to-camera video for YouTube. I won't do this via YouTube Live, because I'm not a complete idiot (present evidence to the contrary), and I reserve the right to edit gross mistakes and mis-management. So it would be sort of an AMA, only theoretically more fun.
Anyhow, I would prefer the questions cover subject matter I know something about (electronic music production, user interface design, esoteric control methodology, Audio Damage products, music publishing, making things, earning a living in the music business, touring, that sort of shit) but whatever gets voted to the top, I'll answer.
If it's fun and cool, we can make it a regular thing. If it's not fun (for me) or cool (for you) or generally retarded, we won't. But it can't hurt to try, right? I have made a Google Moderator page here. The questions won't appear in the list until I've allowed them, which means I'll just delete anything truly stupid, so don't bother asking nonsense.
If you have any ideas of how to make this come off better, or examples of how it's been done well, feel free to comment/criticise.
EDIT: Voting is closed. Filming now.
November 19, 2014
by Chris Randall
Cory Doctorow portrait by Jonathan Worth, altered by me for comedic effect.
Cory Doctorow did a Q&A on iO9 today, wherein he provided everything you need to know about making a living in the arts in the Internet Age. Naturally, he was talking out his ass, like he does. The problem is he was talking mostly about the music industry, a subject of which he demonstrably knows very little, despite his protestations. Since his comments are so brazenly misinformed, I thought a line-by-line breakdown was in order, in the hopes that people will understand how little this dude knows about our business.
It's always been all but impossible for individuals to earn a living from the arts!
No. It hasn't. Hundreds of thousands of people do it every day, and have for centuries.
Nearly everyone who ever set out to earn a living from the arts lost money in the bargain. Of those who made money, almost all made very little. Of those who made a lot of money, most stopped making money quickly.
Where's your proof of this? Did you just make these "facts" up? My own experience in the arts, going on 30 years now, is that it's actually fairly easy to make a living, as long as you are better-than-mediocre at your job of choice (and even that isn't a deal-breaker. For instance, you have a career writing science fiction.) Aiming to be the next Mick Jagger is most likely going to lead to disappointment, sure.
Success in the arts has always been a six-sigma event, a huge rarity. It's only because we apply survivor-bias to our perception of the arts (only considering the successes, because by definition we never even hear about the failures) that we think of the arts as a business, instead of lotto.
Hardly. Success is a largely a function of perseverance, practice, and ability. Pick two.
And survivor bias? Well, every single comment you've made here is a result of your own survivor bias. You're overlooking the hundreds of thousands of working musicians that do totally fine, everywhere. All the members of every orchestra in the world (and any city of a reasonable size has at least two) and their understudies all make fine livings. Every pit player in every live musical or stage production can make their mortgage every year. Every employee of every record label in this country, and the employees of all the music publishing houses, library companies, game music studios, TV and film scoring shops, commercial/industrial music companies... they all do just fine. Every venue that plays live music has bouncers, bartenders, managers, DJs, and never mind the bands. All these people are making a living in the arts. And that's just music.
Survivor bias, my hairy white nuts.
Every single person who's ever pursued a career in the arts without a plan B was doing something insanely risky, and most of them had a diastrous [sic] outcome as a result.
Do you have numbers to back this statement up? In my experience, anyone who's pursued a career in anything without a plan B was doing something risky. But insanely risky? How do you figure? What's insane about risk?
"He either fears his fate too much,
Or his deserts are small,
That dares not put it to the touch
To gain or lose it all."
There ain't no such thing as a free lunch, buster. And define "diastrous" [sic]. Did they die? Lose a limb? Grow a third nipple? Or did they only find out that perhaps their talents didn't run to the arts? I don't think that qualifies as "diastrous."[sic]
When we try to defend certain kinds of professional artists, we always end up doing so at the cost of other artists. For example, before the advent of the record and the radio, it was inconceivable to ponder a musical performer who loved to perform, whose performances would please millions, but who didn't want to perform in front of an audience. This was as weird an idea as a notional champion swimmer who just didn't like water.
Is Frederic Chopin inconceivable? How about Beethoven? Barbara Streisand has a notorious case of stage fright. Is her career somehow inconceivable to you? Ditto Andy Partridge of XTC. If you have ever had to get up on stage and sing, which you obviously haven't, you'd know that it's difficult. This is why success is largely a function of skill, not magic internet dust.
The live performers hated and feared the radio/record performers. ASCAP boycotted radio for years (opening the way for "hillbilly" and "race" music to rise to prominence in America).
Hated? Feared? How so? Where's your proof? Did you just make that up? Aside from that, your premise is wrong. Radio stations boycotted ASCAP from 1931 to 1939. Not the other way around. How the ever-loving fuck would ASCAP boycott radio? I've seen you mention ASCAP many times over the years, and it's pretty obvious that you don't really have a clear understanding of what they do. And you never mention BMI or SESAC. Why is that? ASCAP is a fucking non-profit, for all love, and its sole purpose is to make sure musicians get paid for their work. Unlike the other two. Seriously, dude.
Today, the people who succeeded at recording careers rebel at the idea of being live performers.
Really? Where did you find this out? Proof? Or is this another fact you just pulled out of your ass? Also, you're mixing verb tenses. You're a professional writer, for the love of Christ.
But the technical reality that changed how the tiny minority of successful artists got their income has a much wider effect than artists' income -- radio didn't mostly affect music, it changed every fact about the world. The Internet, too.
I don't think you fully understand what the phrase "successful artists" means. Or "fact," for that matter. But that aside, this doesn't make any sense whatsoever, so I have nothing to rebut.
The biggest challenge to the incomes of the tiny minority of artists who do succeed today is the fact that there is a highly concentrated entertainment industry (five publishers, four labels, five studios) and they have incrediby abusive, one-sided standard contracts.
Again, define "success" before you build an argument based upon it. There isn't some "success" benchmark, below which is non-success, and above which is Easy Street™. Do you mean "I can pay my rent"? Because that's not that difficult. Or do you mean "I have a house in the Hills / Overlookin' the sea / It's worth eight but I only paid five point three." Because those are two very different things. Even your precious Amanda Palmer, who is successful by any reasonable benchmark, can't roll with Dre. In my opinion, I'm quite successful. I have an income that is twice the median, own a house, have a two-car garage and a swimming pool, but compared to Ms. Palmer or Dre, I've barely moved the needle in my career. Back to your lottery analogy, you imply that Dre's success is the result, for all intents and purposes, of hitting five digits plus the Powerball. News flash: Dre didn't win the lottery. He made the fucking Chronic.
And "incrediby [sic] abusive, one-sided standard contracts..." Have you ever even seen a recording contract? Record labels are essentially very specialized banks. If you've ever bought a new car or a house, this is pretty much the same thing. "We'll buy this thing for you, and then you'll owe us all the money we spent, plus some more to pay for our time and expenses and effort." It's really not complicated. You act like a dick and snort your advance off the tits of a Sunset Strip hooker, you're gonna have trouble. You act like a professional and do your fucking job, and happen to make some music that people like, you're in pretty good shape. It's not fucking magic.
The real fix for this is to eliminate the de facto subsidies to giant multinational corporations (lobbying priveleges [sic], legalized tax-cheating, etc). (This would also fix pretty much everything else!).
Really. Will it fix the fact that some people just aren't good at making music people want to hear or pictures people want to look at or books people want to read? Because those are pretty important factors in your mystical "success." Also, there are about 5 logical fallacies in this one single paragraph. That has to be some kind of record.
But in the meantime, we can encourage the 'competitor of last resort' - the Internet and all the services that allow artists to opt out of the big five/four and go on their own. That means not imposing enormous copyright liabilities on them (to found Youtube today, you don't just need a garage full of hard-drives, you also need a $300M Content ID system, which means we aren't going to see a lot of Youtube competitors any time soon).
Ah, here's the source of all magic and unicorns, at last. The Internet. The Great Arbitrator™. Finally, I can leave this life of poverty and hardship. Man, you need to get the fuck out of your house once in a while. I strongly suggest you come down to NAMM, and see what the real music industry looks like. At the risk of going all ad-hominem on your Canadian ass, it's a very different beast than this YouTube-based morass of Ukulele covers by quirky beflanneled Millennials that you've concocted in your head.
And there are like 60 YouTube competitors. At least.
The existence of an alternative to the big companies puts a floor on the worst offer they can make to artists -- it has to be better than the best deal we can get for ourselves, outside of their walls.
There was _always_ an alternative to "the big companies." It was the small companies. Your precious internet made getting a nice deal with a middle-sized indie really fucking hard, though. So thanks for that. I never used to blame you directly, Cory, but I think I'm going to start.
But here's the onion: the ability to put up a YouTube video (or a Bandcamp album page, or populate the upload fields on TuneCore ingestion) doesn't mean an audience will appear out of thin air. And while you've never straight-out defined it, I'm pretty sure your definition of "success" isn't "can pay my bills," but rather "has an audience." Because that's the coin you trade in.
Let me ask you this: if I paid the appropriate amount of money, and sent you some records to listen to, would it ensure a nice above-the-fold article on the front page of Boing Boing? Just curious. Hope my Bandcamp records move enough units this week to cover that.
August 26, 2014
by Chris Randall
The video above is outstanding. There's no other way to describe it. I'm not a big Goldie fan, being more on the Roni Size side of the fence when it comes to rollers, but the Heritage Orchestra performing Goldie, with that level of musicianship, and the joy the proceedings bring to the table, is a prime example of the Perfect Storm, where everything comes together, and the energy that it gives off is greater than the energy that went in to making it. (And that, in my opinion, is the definition of art, overall.)
I don't really have anything to say about the performance, because it is both objectively and subjectively outstanding. I do have something to say about this, though:
Here's the thing: it is perfectly acceptable to not like something. It's even acceptable to voice that opinion. Music, like anything creative, is a subjective endeavor. But that comment is a prime example of the form of Internet Fuckwittery we've come to learn is a byproduct of making cool shit. The Dunning-Kruger Effect in full force. (The tl;dr version: the Dunning-Kruger effect is a scientific study that proves the old saw that a fool is certain, while a wise man is full of doubt.)
In my various careers, I've run in to this a lot. There's the pedigreed version, in the form of the guy that writes reviews of records and live shows. There's the semi-pro version, where someone has enough knowledge to make music, but not enough to do it well, and becomes a self-taught expert on gear, but not its use. There's the fan version, wherein lyrics that were generally chosen for their ability to fit in to a rhyming scheme become the subject of debate and broad declaratives about an artist's state of mind. There's the Agile version, where stakeholders and user stories substitute for actually having a vision. It goes on and on.
Chris Killer is phrasing his comment in this form: "I am an expert on the live orchestration and performance of 90s drum 'n' bass, and this fellow needs to work at things a little while in order to properly meet my exacting specifications of what, exactly, constitutes same." Chris isn't, however, an expert on anything having to do with this performance. He isn't even a semi-expert. As far as I can tell, the only relationship he might have to this performance is that he bought a Goldie record once.
And there's the rub: it's okay to just say "I don't like this." Leave it at that. "In my opinion, this isn't done the way I like to see Goldie's music done." That's totally fine. Everyone's okay with that. But when you're all "I KNOW EVERYTHING THERE IS TO KNOW ABOUT THIS THING AND YOU DID THIS THING WRONG EVEN THOUGH IT'S YOUR THING AND NOT MY THING" you're running a serious risk of coming off like a fuckwit.