songsterr has a stellar guitar tablature UI. Finding a counterexample of truly awful written music on the web is a depressingly easy job, but Mel Bay is as rock bottom as anybody: Read em and cringe.

David Byrne bike racks

The New York Times has an article on NYC bike racks designed by David Byrne. I like em:

In my mind this fits next to his blog as a reason to think of him as a creator in the present rather than a legacy act whose relevant work is in the past.

He’s like a silent film actor successfully making the transition to talkies.

byrne/eno drop

Embedded player for the new David Byrne + Briane Eno album:

Byrne’s comment on the site:

For the most part, Brian did the music and I wrote some tunes, words and sang.

I like this music.

When I first listened to this via the embedded player I had a hard time getting over my distrust of David Byrne’s post-peak output. Eno’s 70s releases are lifetime favorites for me, and I have a lot of respect for earlier Talking Heads, but Byrne’s stuff in the last 10-15 years is cringeworthy. I’ve gotten to like Byrne’s blogging, though, so this has redeemed him enough for me to be open to his new music.

So I gave this a long listen, going around the whole CD twice with headphone on. As you’d expect from Eno, it’s sonically delicious. It’s mainly warm and organic in the style of these guys’ later work, rather than cool and deliberately stiff in their early styles; IMO that’s a loss, but you can’t go back and doing what you really feel is always the right thing. Still, I’d have loved to hear Robert Fripp’s guitar. Eno’s vocals are strained in a bad way, Byrne’s are strained in a good way. The only spots that fall flat are when Eno is singing.

The packaging and presentation are user-friendly. For example there are FLAC files. I found myself rooting for them.

netaudio: Ian D Hawgood - The Fire Will Die At Night

Ian D Hawgood - The Fire Will Die At Night is a beautiful piece of music with an really nicely done home page. I’d embed a player here, except that the page itself is part of the value so you’re better off clicking through. I especially liked the downloadable printable CD cover.

marketing songs the lazy way

I have added some new formats for my song Frog in the Well.

For people making videos, I created cuts of 20 seconds, 30 seconds, and 40 seconds. I have noticed that the length of a piece of music is a big factor in choosing it, so these cuts are to increase the number of situations that this music fits.

For people doing remixes, I created a sample pack with eight clips under five seconds. I did this because chopping up a song into samples is a fair amount of work, and eliminating that work increases the number of people who might use samples for the song.

With both of these sets of cuts, the goal was to increase the potential growth of my music. The popularity of my song can only grow linearly, as the sum of listens. For each song or video that it is incorporated into, there is a multiplier on that growth curve. If songs or videos that incorporate my work are themselves incorporated into other works, there is exponential growth in the listenership for my music.

I also created a clip to be used as a ringtone. My thinking was that supporting more playback contexts, and especially a playback context as common as cell phones, would again do good things for the potential growth curve.

Lastly, I created a page which can transpose and play back the sheet music using the Scorch browser plugin. This should increase the number of contexts that the sheet music and tablature are useful in and the number of people who can follow the sheet music. Having people incorporate my musical work by learning from a piece of sheet music that I created is again a way of hitching a ride on other people’s works.

What I didn’t do was go out and plug my song. I didn’t make CDs to mail to radio, press, and booking agents. I didn’t email bloggers one by one. I didn’t post comments on other musicians’ Myspace pages. I didn’t email all my friends. All of these ways of marketing are good things to do, but I am lazy and would rather have other people do that for their own stuff and bring mine along for the ride.

I also didn’t make a new song. It’s good to keep up a steady flow of fresh work, but winner songs don’t come along all that often and once you have one you’ll probably get more growth overall by focusing your efforts on the winner.

You can see all this stuff in context on the song page for Frog in the Well.


Here is a video that used this song as background music:

<p><a href="http://www.youtube.com/watch?v=Bvvn9d7vzNY&#038;fmt=18">General George Gordon Meade Monument</a></p>

why advertising will win

My reasoning on why recorded music will mainly be sponsored by advertising in the future is that advertising by definition always makes the most money.

CDs and downloads are products which can be associated with plays just like any other product. When you hear a song on the radio and end up buying the CD because you like the song, the song is acting as a promotion for the CD.

But what if other products can have higher returns on that play? What if you can sell ten pairs of jeans for $100 profit instead of ten CDs for $50 profit? The musician who made the song will cut a deal with the jeans vendor instead of the CD vendor, obviously.

Maybe you get a one-song CD in the bag with every pair of jeans. It might be that the rock star wears a patch with the jeans brand on their jeans jacket. It might be that the jeans vendor gets a banner behind the stage at live shows. Or it might be a plain old ad-sponsored stream on a web site.

Which one of these methods you pick doesn’t matter - how the song and product are hooked together isn’t relevant to the basic argument. The argument is that

  1. The business of recording is about using recordings to move products.
  2. The most profitable products will always be able to pay musicians the most for their works.
  3. Advertising” is the word for this kind of relationship between recordings and products.

From this perspective selling CDs based on an affiliation with a song is still advertising in the sense that the product is the CD and the advertiser is the CD vendor. CD sales don’t have to go away for this point of view to be an accurate prediction of how the recording business will shake out. But CD sales do have to become an option rather than a necessity.

For example, a pop star might record a new song specifically for a marketing campaign for a new product. BMW comes out with a new model, and Barbra Streisand comes out with a new recording to be somehow associated with the car. Maybe you can only get a CD at dealerships or can only download a copy at BMW’s web site. The download is free on the site, the CD is free at the dealership. But the car isn’t free. If BMW can make more by converting Barbra’s song into into car sales than EMI can make by converting her song into CD sales, BMW can pay Barbra more, and she will move from EMI to BMW.

What it means for advertising to “win” over unit sales (in the form of downloads and CDs) is for the product associated with a recording to become flexible. The product associated with a recording should be whatever product is the most profitable. There’s nothing intrinsically CD-ish about a song. Sometimes the product should be a CD, but sometimes not.

profitability of iTMS

Per Coolfer:

In the New York Times’ Bits blog, Saul Hansell makes a case that iTunes may be Apple’s best business segment.

Last year, PacificCrest analyst Andy Hargreaves estimated iTunes’ operating margin to be 10% and possibly as high as 15% (it would be better today due to the increases in volume). Earlier this year, Billboard’s Ed Christman estimated $161 million to $390 million of operating profit on revenue of $1.9 billion. That comes out to an operating margin of 8.5 to 20%.

Whatever the true operating margin, we can safely assume iTunes is making money hand over fist. Steve Jobs might downplay its success, but we shouldn’t.

I’ll buy Hansell’s argument that the iTunes music store is contributing a nice chunk of $$$ to the bottom line, but I want to point out that operating margin isn’t the only part of the equation: opportunity cost matters. If Apple could earn more by investing that same money in, for example, a search engine, it’s losing money by accepting the lower rate of return.

Also, I want to point out the subtext of the conversation. Coolfer is generally a conservative on music industry issues, and Hansell’s argument would tend to support the conservative perspective. The trad recording industry is deeply committed to per-piece unit sales as their main line of business. They’re seeing the internet as a new distribution channel for download sales, not as a way to upsell concerts, merch, and whatever an advertiser thinks they can move.

I’ve argued in the past that ad-sponsored streaming is the way it’s all going, and that downloads will become a profitable but small part of the market. I’m supporting that view by not fully accepting Hansell’s argument. (And my perspective is what the tech industry wants to hear, because big internet companies are all about advertising).

While I’m pointing out who has what axe to grind, it’s important to know that Billboard is more or less the house organ of the big record and movie companies. If they’re estimating X profit margin for Apple, and the record companies are feeling bilked, X is probably high. iTMS gross revenues probably reached a big enough scale last year that the proportion of fixed cost to marginal cost probably went to zero; that proportion doesn’t keep improving once the fixed cost is a negligible part of the whole.

On the whole, though, I do buy the argument that the iTunes Music Store is a decent if not great business.

lead sheet for “He’s in the Jailhouse Now”

Over the weekend I posted my own sheet music for the old song “He’s in the Jailhouse Now” on my musician blog.

Some good things about it:

  • Carefully proofread and corrected. I used it in a couple different rehearsals and ironed out the bugs.
  • On a single page. No page turns.
  • Big type and simplified changes. Easy enough to visually parse that you can play from it on stage with minimal lighting and rehearsal.
  • Evenly spaced, with four measures to a bar.
  • Lyrics, melody and chord changes in one place.
  • Source Sibelius file provided for making modifications.
  • PNG, PDF, and Sibelius can all be shared, modified, and redistributed, because they are under a Creative Commons Attribution-Sharealike license.
  • Pretty damn good if not perfect copyright status, to ensure that people could really use it.
  • Good documentation on the history of the song. I spent a couple hours looking up the details and collated a number of different sources.

Doing a clean and thorough job with sheet music is pretty rare. Free (as in beer) sources are usually a mess. Commercial sources are usually oriented towards piano players or beginners. My version is higher quality than other free sources and is oriented towards real-world players.

How to add Moon of Manakura to your web page

Go to Rhapsody.

Ignore annoying upsell to their download store.

Do a track search for “Moon of Manakoora.” You have to set the scope of the search in the dropdown next to the entry field.

In the search results, right click on the link to the song and do “copy link location.”

Go to your own web page.

Paste in the link location, like this:

<a href="http://www.rhapsody.com/goto?rcid=tra.723445&variant=play">Moon of Manakoora</a>.

Add goose to your page like this:

<script src="http://mediaplayer.yahoo.com"></script>

Save and load the page. There will be a working play button next to the link, and the song will play in the context of everything else in the page, e.g. MP3s, oggs, whatever you have in there.

Listening: RCRD LBL podcast 8.6.2008 (mp3). Great pocket for getting into the groove of the work.

Web page w/ individual song downloads here