Archive:2007 Workshops/Free Music and Remix Culture

Leaders: Jace Clayton and Antenna Alliance

= Free Culture Music Is of Lacking Quality =
 * But Free Culture is an great opportunity to release work.
 * A number of bands are interested in Antenna Alliance to release work

= The Agenda of This Working Group =
 * How can Free Culture be brought to these existing music communities?
 * To artists that are already producing great music.
 * A Question: How Does Antenna Alliance distribute their music to Radio Stations?
 * Probably discs for now
 * We're obviously going to be offering music for download on our website.
 * So far, if Artists give AA CDs, they distribute them and help, but they haven't formally set up anything in general.
 * We ask the musicians, what do you want on the one sheet that accompanies the CD?
 * A pink sticker?
 * This means that it is free, that you won't have to pay license work for.
 * Does the license cover webcasting royalties?
 * Yes, it does
 * But it is separate, and not covered by Creative Commons license.
 * But how do we make the case for Free Culture? And make it clear and understandable?
 * Q: Though it is good that bands such as [redacted] are on board, it is hard for a lot of people to build off of "rock" songs. It's too processed. So does AA have any plans to involve hip-hop? Boston has a great scene, even if it's not totally marketable.
 * A: Rock and noise music -- we're trying to get the source tracks. The drum track, etc. So we get two versions. One "the source", similar to the FSF's definition of source. This is the best.
 * When we initially looked at local hip-hop: the problem is a lot of the beats that they're using are borrowed and no one really knows how to progress with respect to royalties.
 * Suggestion: Find sampleable records. Source material that works.
 * AA: It is really a question of man power. There are only a few people who show up to AA meetings, but we just don't quite have the man power right now. There are so few people working for us.
 * So we have to improve CC music as a recording collective.
 * But the curatorial model is something important to point out.
 * We think one of the big failures of ccMixter is lack of curation.
 * AA will hopefully provide some kind of curatorial role.

Are you making multi-track recordings?
AA makes two types of recordings.
 * Live recordings: on-air, touring bands, etc
 * Multi-track projects

Artists cool with it?

 * Only difficulty is withh legal framework for multitrack

Problems with signed groups?

 * (rock/pop?) Bands on indie labels tend to have permissive contracts
 * AA has had deals fail because of this contract question
 * Bands contact AA and usually know their own situation, so if they can't participate, they probably won't make that call.

Which projects exist?

 * Blanks multitracks (pre-date AA)

Are all projects multitrack? Issues with multi

 * (from Northeastern studio engineer)
 * haven't done many complex multitrack sessions. case-by-case and that case hasn't arisen.
 * worth the time or effort? especially if artist wouldnÂ´t otherwise record in multitrack
 * (from photography standpoint)
 * is it worth my time to provide RAW files for EVERY photo i share?
 * finding a happy medium.
 * should filmmakers provide 100 hours of uncut footage?
 * AA prioritizes artists more willing to provide free bits get priority

Do we value final product or remix-ability?

 * Final product because ultimately seeking airplay on college radio

http://renewmedia.org

 * connecting to amazon unbox
 * offering huge range of licensing

Filmmakers expectations / limitations

 * sharing useful documentary footage
 * replicable to music community?
 * (AA) maybe not because there isn't an easy analogy to music creation/ production

Fear of not being able to cash-in on a big break

 * "big break" mythology refuted by the success of dangermouse following grey album
 * growing up in permission/control society creates a fear
 * people enjoy free culture values (remix, hypertext) even if they don't identify it
 * (dj rupture) lack of trust in other communities
 * exploitation internal (JA, trinidad) and external
 * rampant, damaging bootlegging
 * danger mouse analogy can not be broadly applied
 * artist working with WFMU okay with liberal release but want control over the final mixdown

Entering new communities

 * JA artists make money mostly by selling all rights in dubplate situations and generally getting paid fairly little

Xu going to JA this summer to work with Students Expressing Truth

 * Education for inmates
 * Computer skills
 * Recording studio
 * LPFM

Building on mp3-sharing

 * Adding social, financial component to this exchange
 * Connecting djs, producers, listeners, fans
 * Remaining conscious of the culture and context of music
 * mp3 / wav is but a small piece

Downloading as common cultural practice

 * Grey Tuesday adds a social component
 * downhill battle creates a portal, touchstone
 * made it more attractive for artists
 * Can AntAll perform this role today?

Ant All trying to get non-profit status

 * Easier to accept donations
 * Establish studio

How do I make my 3000$ back?

 * Release your work under CC license
 * Press CDs and sell them at your show
 * Leverage AA exposure
 * (dj/r) Tee shirts, merch sale
 * (dj/r) hybrid techniques
 * free in one place
 * for sale in others
 * silkscreen posters
 * things that people would like to take home with them
 * music videos

Pre-pay model

 * fans contribute $ toward a future recording project
 * existing example http://artistshare.com/
 * examples from DVD/video world
 * do the same values apply to music? limited future?
 * prince gives CD away with every concert ticket

What is Soot records?

 * artists working between electronic beat production, africa/ north africa traditional folk musics
 * http://sootrecords.com/
 * interested in CC licenses BUT...
 * scale is so small that giving away music on the internet doesn't seem to affect sales
 * values
 * grassroots collabo
 * remix culture (12"s with acapella, instrumental versions)

Anxiety with releasing source material

 * some musicians don't want to have their music mixed with just ANYTHING (think: mickey mouse / porn fear)
 * there haven't been many (any?) examples of negative consequences from releasing the source material
 * performance anxiety
 * don't like your vocal performance dry and out of instrumental context
 * remix anxiety
 * many remixes are really bad..
 * artists often very personally invested in their recordings

Antenna Alliance State

 * 1) Jamaica Project
 * 2) Partnership with 10 radio stations
 * 3) Boston noise compilation
 * 4) * nine tracks cut to vinyl
 * 5) * cc by sa
 * 6) Curating music collection for OLPC
 * 7) * Tam tam