Hi Steve, you may have answered this many times previously, but I was wondering why do you prefer analog over digital? Digital recording systems engender a kind of production that is overly concerned with editing and manipulating the sound after recording, rather than concentrating on recording music in a flattering manner to begin with. I don't like the way this perspective tends to flatten out performance nuance.
There are diagrams, construction details, a image, and more. The control room is designed to have minimal reflected energy, to provide uncolored sound from the loudspeakers.
This provides accurate and even sound, which is great Steve albini record industry essay studio monitoring, but not necessarily appropriate for dancing or making out.
For these purposes we recommend the lounge or client offices. The Problem With Music is a famous rant about the economics of the music industry that Albini wrote years ago. The next album will be about the same, except that the record company will insist they spend more time and money on it.
Maybe the T-shirt guys have figured out how to count money like record company guys.
Some of your friends are probably already this fucked. Matt Linderman wrote this on Jan 21 There are 13 comments. I knew several other minor guys that were pulling in far more than majors.
The majors I knew that made the most money in the industry are known as divas or jerks…but in real life are decent people with actual values and care about how people treat them.
Which for me is akin to someone ditching a graphic designer in favor of MS Publisher or the year old nephew with Photoshop. Then again, I think that everything the music industry is blamed and guilty for these days has little to do with the art of recording in itself.
Albini is well aware of this. Technology has moved fast- I now have the technical ability to create a recording that can compete with the best. Do I have the ears? But my priority is getting my music out there.
I have only music that I want to make and share with others. In reading Getting Real, did see some lessons that I could apply directly to music production.
And it is possibly those mistakes that kept me from successes in the music business. But the opportunity to self-promote and fill niches is so much better now. Is taking VC for your web app company like getting singed to a major label in a bad deal?
I am reminded of Aaron Schwartz rant after Reddit was purchased and they moved him to the Wired office. Music, books, and software no longer require large amounts of capital to produce and distribute. In fact, those, like Albini, dedicated to the craft of making quality recordings, might shun this approach.
The same way the audiophile musician winces at MP3 quality, an author who loves his work might bemoan PDFs. The music industry considers the bands raw material, like a bucket of sand, and does not care what happens to it in the process of generating income.
In that light, most bands are better off on their own, where they have control of all the decisions that affect them and, more importantly, get to keep all the money. Such a contract is essentially worthless to the band that signs it, but remains an important coercive tool for the record company.
A contract is meaningless unless you have the wherewithal to enforce it, and can endure the time sometimes years it takes a dispute to wind its way through the courts during which time you will be earning nothing. That may be a more interesting topic for discussion than our studio, but thanks again for noticing our website.
You DO leave a lot of decisions to others as they are expected to know more about these issues than you do. Unfortunately this almost never happens through either inexperience, greed or neglect. The internet is levelling the playing field to a large extent these days. Bands have many more alternatives than just getting signed to a record company.
The recent Radiohead situation shows well what can be achieved when you are willing to accept a larger slice of a much smaller pie. OF COURSE they are going to ask for everything…and yes, when you are talking about something that is going to entail years and years of accounting, you need a contract.
When you submit that imbalanced contract, you know full well that the negotiations may make it more equitable but your intention is always for the end product to be more in your favor.
Why should musicians even bother dealing with a situation where the deck is stacked against them? In addition, we spend nothing on lawyers, which is quite a savings. Always been fair for me. Maybe it is the state of law and misgivings from everyone that no one sees these as common sense.I've only met him a few times but he seems like a nice enough guy.
I don't have an opinion on his music really, not that familiar with it after the first couple of Pavement records.
Hello Steve Albini. Was this Big Black Final Tour Diary actually written by you? Steve Albini speaks at Melbourne’s Face the Music.
Photograph: Jayden Ostwald Steve Albini is the producer (he prefers the term “recording engineer”) behind several thousand records. Jun 01, · Musician and producer Steve Albini has never been a fan of the recording industry. He posted the definitive essay on how labels screw artists over .
Spawning controversy as well as adulation throughout his career as both a record producer and guitarist, Steve Albini has made a major impact on alternative and punk rock and rock and roll. In his recording efforts, he has striven to create a sound that comes as close as possible to that of a live performance.
In other words, Albini is an iconoclast with industry credibility. He's a thought leader too: His essay, "The Problem With Music," assailed record labels for keeping bands "hostage" via. Ian Jorgensen (Blink): The Problem With Music In New Zealand and How To Fix It & Why I Started And Ran Puppies says: June 30th, at pm [ ] by Steve Albini’s essay, The Problem With Music, Ian Jorgensen – known as Blink – decided to write his own version, a version for New Zealand.