I’m SO glad that our new live mixer set up allows us to multitrack record everything. It means we can capture lil’ moments like this one, when I decided to open the House Concert in Camberley with a version of Lionel Ritchie’s ‘Hello‘.
I’d previously played it at home, but just the chord melody bit. The weirdness in the middle was a whim – I’ve blogged before about the way that the house concert set up lets you take more time over things, and more risks in your playing. Here, they paid off: [Read more →]
So, Mike Outram and I have been releasing a new preview track each time the play-count on the previous one reaches 500 – the last two are on Souncloud, and are both past that benchmark, so we’ve made another available.
BUT.
It’s not on Soundcloud. It’s available for free in exchange for a Tweet.
I finally got round to doing something I’ve been meaning to for ages, but never managed to line up being motivated and having the money for it – I replaced my live mixer and preamp with a MOTU Ultralite Mk III Soundcard.
There are a number of reasons for this – [Read more →]
As promised, when the 1st of the Steve Lawson/Mike Outram tracks reached 500 plays, we uploaded another one. It’s a really long one that goes through 3 or 4 very different sections, though that evolve on into the next in a lovely fluid way. In order to explain a little of what’s actually going on (it’s a pretty big noise for just a bassist and a guitarist to make live!) I’ve annotated the track, as you can see below. [Read more →]
…That’s what my brain is asking when I’m improvising.
A couple of weeks ago, I had the great pleasure and good fortune to spend a day recording with Mike Outram – guitarist extraordinaire. I’ve been a fan of Mike’s for a long time, having heard him in a couple of different settings with Singer/Songwriter Rebecca Hollweg, and more recently with Theo Travis’ Doubletalk quartet.
We were able to snag a day recording in the rather lovely studios at Leicester College, giving the students there something to record, and a very different type of project to work on. [Read more →]
Recorded at Friday night’s gig at the Islwyn Guitar Club in Crosskeys, Gwent, South Wales, here are two new tunes that ‘emerged’ – they’re both improvs, but I like ‘em, so will probably have a bash at something like them for the new album…
The recordings are remarkably good considering they’re just on a little Tascam digital recorder thingie (recorded by Andrew Buckton – fab singer/songwriter who came with me, and sang beautifully on the gig too).
Soundcloud is SUCH a great compliment to BandCamp. While BandCamp is all about the curated artifact of music, Soundcloud is all about malleable audio – there’s no restriction on file-size, or resolution, so you can put MP3s up, podcasts, entire gigs as a single embeddable file…
It works great as a sketchbook, and again, you can control whether the stuff is streamable, downloadable or whatever else… There’s also a nice social side to SoundCloud, with the usual 2.0 follower/followee relationship, as well as the option to have ‘private’ files, for sharing music amongst collaborators before making it public. Very useful. It’s got a host of other fantastic features, which you can check out here, and to see it in action, here’s the EP that Michael Manring and I made available a few weeks ago, exclusively via SoundCloud:
The pairing of Bandcamp and Soundcloud is a pretty much unbeatable combo for distributing audio files online. And Bandcamp gives you to option to charge for them as well.
What is as yet un-mapped is the actual relationship between how we value music, and how artists can price their work relating to that value. Donations, like the pay what you want option in Bandcamp, work really well – we the audience get the chance to be generous if we want, and people with no money can still get the music (and if they want to ‘pay’ something, can just share it around – after all, that’s ultimately what it’s all about!) but it still the case that you either pay before you listen (in which case the donation is a guess) OR the listener has to come back and make a donation after (which requires a level of commitment to the ideal that few of us are capable of…)
One of the projects I’m working on is a platform that seeks to work out that value and allow listeners to pay based on it, and I’ll write more about that very soon…
For many years, musicians have been looking for decent ways of hosting, embedding, distributing and selling music online. The shops that sell MP3s, on the back of iTunes success, are myriad. As are the sites that let you upload a few tunes and put them on your profile, ala Myspace, Reverbnation etc.
But two services are now becoming essential in the web-savvy musicians tool-kit – BandCamp and Soundcloud.
So, if you read my last blog post about the gig on Oct 7th with Michael Manring, you may have seen that I embedded in that post a widget containing a free-to-download live EP of Michael and I playing together in California.
The EP happened because while blogging about the gig, I remembered that after that show (which at the time felt like a particularly good set of music) someone had sent me a recording of it… I’d been meaning ever since then to put up the rest of the improv that made sense of this video on youtube, and when I dug out the recording (which was sat on my incredibly messy desktop), I found that the entire improv set was worth putting out. [Read more →]
Yup, finally, about 5 years after our last one together, I’ve got a London gig with Michael Manring. For those that don’t know, Michael is, IMHO, the finest solo bassist ever to pick up the instrument. He’s been doing this stuff longer than I’ve been playing bass, has sold literally hundreds of thousands of records (how many solo bass players can you say that about??), and has even reinvented the instrument to make things possible that weren’t possible before.
The gig is at Round Midnight Jazz and Blues Bar, on Oct 7th, starting at 8.30. Tickets will be £8 on the door, £7 in advance – to reserve tickets, call 020 7837 8758 or email “ntmusic [theATsymbol] gmail [a dot] com”. (it’s highly likely to sell out – we played to about 130 people at the Troubadour last time he was here…) [Read more →]
