Thursday, May 08, 2008

pure internet music

What, if it occurred, could we reasonably regard as Pure Internet Music?

Growing weary of my physical sound devices, mechanical tone generators, and manufactured synthesizers -- my Casio, Farfisa, Yamaha, plastic clown organ, plastic shepherds pipe, Marine Band harmonica, and crazy chicken squeak toy -- abandoning these professional concert instruments, I sought what was beyond them.

I relinquished my grip on the real world instruments, though I did continue to add them into the soundpathing to further confuse the issue and add sonic textures or contours to the final mastering process. But they became marginalized, addendum, no longer front and center.

I aggressively hunted down the Instruments That Don't Exist (...but the music does, it's recorded and duplicated on physical CDs!).

I mytho-poetically pursued virtual music instrument simulations, online audio and video studios, and web-enabled beat-mix machines.

My latest music, collected as Str8 Sounds "Futuristic Soundscapes", relies almost entirely on my manipulations and orchestrations of online beat mixes, old synthesizer product demo records (Casio, Arp, Orchestrator).

NOTE: I'll upload the entire "Futuristic Soundscapes" CD to my The Str8 Sounds on page later today. You may hear tracks "Super Nice Divinity", "Wild Animal", and "Art Forum Magazine", songs constructed from virtual instruments, rhythm machines, and product demos, at The Str8 Sounds on MySpaceMusic.

I'm also using virtual simulations of retro rhythm machines: Korg MiniPops 35, Electro Harmonix Rhythm 12, Boss DR 55, Electro Harmonix Space Drum, Roland TR 55, Yamaha EM 90, Seeburg Select A Rhythm, MPC the Kit, Seeburg Rhythm Prince, Maestro Rhythm, Conn Min O Matic, Tronix Rhythm Box, Susuki RPM 40, E Mu E Drum, Austin Rhythm Box, Univox MicroRhythmer, graciously and without charge, from a virtual audio museum.

All these unique instrumentations are processed, usually quite heavily, through the virtual effects of the Audacity online music studio. Music videos and art films are produced using a popular online movie editor.

Services, is what they all are, more than merely instruments, museums, or studios.

But it's all online, all free, all democratic and anarchist in their indiscriminate abundance and lack of use restrictions or rules. They are simulations, existing only on the internet, and everybody can use them. It's fun to use them in ways their creators never intended or imagined, btw.

Str8 Sounds Therabusive Noise Carnival officially now is using predominantly non-existent musical instrumentation, having invented many of the presiding techniques in this burgeoning field.

Akin to the Circuit Bender phenomenon, and Net Art experimentations, Unreal Music Fantabulation (encompassing all the recording, production, social networking, and distribution tool associated with music creation and marketing) is the Next Big Thing in both democratic indoctrination and music domination.

Democratic Indoctrination: the universal availability/accessibility of these ultra-post-submodern music tools are heavily seeded fruits of democracy, internet, and the phenomenal rise of individual empowerment for the common person.

Music Domination: you must use these social networking and music distribution tools to promote all types of music, not just electronic, rock, and avant garde. Everybody's surfing the web, with PCs and cell phones, hunting for information, news, bargains, opinions, social interactions, and entertainment. If your band isn't all over the internet, in many different virtual venues, you increasingly don't exist.

Your band needs to be heavily present on:

1. MySpace (music artist account)

2. YouTube (director's account)

3. (band account)

4. Twitter (social networking)

5. UstreamTV (live streaming shows)

6. Local music scene websites (like LiveMusicPeoria)

Those are the top six methodologies that I recommend, just to get started in music marketing.

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