Archive for October, 2014

Retail & Distribution. week4

Posted: October 31, 2014 in Networking Music.

”Where do you see the potential for retail growth in your particular scene ?”

I currently still don’t know what scene my music fits into, My inspiration comes from a wide range of music and i might get creative with electronic IDM one day and the next write a song on my guitar, it depends on my mood & inspiration. I’m not sure that my performance skills as a singer are as good as my production, and although the pressure of being centre stage can be financially rewarding, it is also my holdback on trying to establish myself in the local live music scene. I have noticed that i often find myself trying organise sessions and make things happen in regards to a communal music practice. I just love to be around talented people making music.

I have two pseudonyms for the music i create,

Aj-Fitz. – Songwriter & Producer,

AphitZ. – Electronic experimental, IDM, Hardcore Techno and Drum & Bass.

”Im looking into launching my own digital label with a live stream showcase, ultimately i wish to be releasing my own music but also promoting my studio & producing skills for hire. I will be looking to network with local talent and events in turn creating an online community that can tune in to live streaming of jam sessions with interactive q&a.”

I was going to release a solid copy 4track EP for the Networking Music (NM) final brief, but now after blogging a studio session with some other students and the lectures in NM, i have decided to look into another idea. I have realised i am lucky to have the skills of songwriting, producing and performing so It may have the potential to be a future business model or record label.. At the moment it consists of a Facebook and Soundcloud page, I’m thinking of it a branded platform for local talent to collaborate, communalise, release music and share opportunities or projects. I need to research this further and get to work on the promotion and recording of my 4 track EP that will be launched as a freemium incentive. The online streaming of music is not economically sustainable however it is rapidly growing in terms of usage, i think this needs to be considered whilst developing the idea.

  • Things to do…?
  • look into how to be an established digital label
  • how to distribute (spotify, iTunes, ect)
  • find another artist to either collaborate with or record and release them
  • create brand and promote it
  • look at creative commons
  • sign up to PRS for music
  • Sign up to Ustream

Below is a short recording of the first Kaos Soul session at Caerleon Campus Studios.


In the battle against piracy the digital economy act has tried unsuccessfully to restrict shared content online. Although next year there is plans to deter persistent users/downloaders with warnings and lawful information, the act is ”difficult to protect.” It is intrinsic to the future of the music industry that a strong copyright framework can protect the rights of users so this is constantly changing and being reviewed.

”Educating young people on digital consumption is also crucial. The latest OFCOM report shows 12-15yr olds are developing fundamentally different communication habits to those of older generation. Government and industry must work side-by-side to ensure there is a sustainable legal market for UK music in the future.”

 In 2013 the uk saw for the first time that online sales and downloads had out run the Cd and Vinyl industry by approx. 10%. The search for new business models are increasing popular especially in ‘the big four‘ BRIC countries, as  the market for digital music is growing as fast destructive technology can also evolve.

On turning a passionate hobby into a successful industry the revenue is paid usually a 50/50 spilt between the  creators of the music, and those that manage the distribution. There are 3 main areas in the music industry where revenue can be generated,

  • Record Sales
  • Broadcasting
  • Live performance.

Upon looking at some of the graphs in the above link, pages 17-27 show how revenue is distributed amongst the artists and collaborative business’. It proves to be very beneficial to the songwriter, performer, composer and producer of the music of which i am becoming all three with . It will be even more beneficial if i were to be successful in live performance however I’m more interested in a realistic approach to making revenue and advancing my studio skills to a professional standard. Understanding that live performance, producing and writing are the most sustainable sources of income, i now wish to develop my idea of a digital platform or record label for local talent.

”Its now about building communities, drawing circles around existing models and being innovative with emerging technologies.”


The Performance Rights Society established in 1914 which is now in conjunction with MCPS ensures that ”anyone exercising the performing rights are properly licensed and collects an income for the licensing. By monitoring the use of music use or reproduction online, in live shows and by broadcast, they are able to monitor and collect money known as ‘royalties’ from others using your music. They are exclusive to a membership contract and there a few different levels of access through different services they provide.


Improvisation (week 3/4)

Posted: October 31, 2014 in Global Perspectives.



This week were looking at improvisation techniques, minimalism and game systems for collaborative play. Steve Reich’s compositional works of the 60’s onwards explored extended technique and phasing through looping or repeating short melodies.

His piece called ‘Music for 18 musicians’ is a particular favourite of mine. A piece written for 18 musicians but with no conductor relies on the collaborative team work and communication whilst playing. The use of repetitive riffs relates to my love for rock and european hardcore techno music. A very catchy repetitive riff that changes only by one or two notes upon revolution to create a ‘phasing’ effect of hypnotic nature.

Upon cue or at the end of an 8bar section we would change the riff we played by one or two notes and collectively this made a track change in dynamics. I don’t have a recording of the efforts we made in practice but you can see other CSM students using the same methods here.

Here is a piece of work i have created inspired by Steve Riech’s ‘‘Music for 18 musicians” in the effort to try and create a phasing effect. Instead of changing the riff each time around i simply just subtracted a a very small amount of the riff before duplicating the edited riff.

Screen Shot 2014-11-06 at 13.55.45



UpBeaT. (week 1/2)

Posted: October 31, 2014 in Global Perspectives.

For the start of the Global Perspectives module we took part in a two-part samba workshop. One of the points highlighted was about looking out for future prospects using our skills as a musician. We talked about how teaching is a great way to not only make a living but give back to the community in a way that proves to be rewarding. transparentsmall

..Whilst we were exploring Samba on the drums provided, we were learning about different methods of communicating instructions to a larger group. Music and rhythm theory is not easy to understand for the potential non-musician in the group however, using ‘game’ methods like cue cards, short infantile rhymes or instructional hand gestures can orchestrate the groups musical performance. This requires a level of confidence, planning and preparation to facilitate group sessions and an ability to create engaging sessions that fulfil your objectives to the best of your ability..


week 2

“Who wants a cuppa tea?” 

For the second week of Global Perspectives we were given a task to come up with a game style’ system that we could try and play some Samba with the group. The idea is that were trying to teach the made up Samba progression to possible non-musicians..


Above is an attempt to visually show what i had tried out with the group. If you could imagine a steady beat or click, 1, 2, 3, 4.. and keep this repeating in your head or tap your foot.. The four small red dots at the top of the image represent each count.

Now say out loud the sentences written in the pink bars above, try to visualise the rhythms that the keyed instruments would play.. Each syllable represents a strike or shake on the indicated instrument. Here is a Samba game!

(i don’t know the qualities of quavers/semi-quavers ect

Here is a link to some other games with music


Intellectual property and copyright. 


Property is rights to own, use & prevent others from using it. Where as intellectual property is a bundle of rights that protect the application of ideas and information that have commercial value. It gives the creator exclusive rights over there creation to prevent others from using it. 


Knowledge is non rivalrous because no matter how many people use the knowledge it will always exist as a source or inspiration. physical property is considered rivolrous as one persons use prevents the other. Knowledge is considered public goods as it beneficial and can be use by everyone. Intellectual property is a time limited exclusive right to an idea,. Intellectual property has three main functions, the first is to incentivise knowledge and wealth creation. 2. to accumulate knowledge in a culture so it can develop something to protect.  If information is free to everyone then anything is possible, IP creates a protection plan and in turn generate wealth. 3. to protect a distinctive identity, create a brand image and capitalise on it. The cost of creating new knowledge is much more than the cost to replicate the knowledge so IP becomes the saviour and grace in terms of protecting the idea for the creator, and in turn generating revenue. IP is way to incentivise new ideas and material, It is available to everyone and protects them too.

Copyright comes to the creator and into existence the moment that a product is created. 1710 is when copyright was created.

Two different types of rights,

Natural rights and positive rights

Natural rights apply when the the creator has created something and is credited for the ideas and skill and labour.

Positive rights apply when something is created under statute.. i.e. under a lawful contract.

The public needs to know about the knowledge for it to have a positive right. but can raise the question of the original creator take Facebook for instance. In the romantic era artists were thought to be for the public good and considered enlightened slightly however the idea of art provided

The marketisation of art created this anonymous market, where the artists supplying common knowledge for the greater good was supported heavily by patronage, Now it was accessible to a larger group i.e. ‘more common’ people it helped the decline of the romanticism.

Copyright in the uk was created to limit the monopolies of publishers. In time it stopped becoming a public service and more about publisher gain the money.  Copyright now only exists for generating money. Copyright has developed over time slowly and in small amounts so that capitalisation is always possible in a changing world. Copy right restricts people from using the idea but you can now license it to people now.

A musician or artist can apply copyright to there own expression of the creation, however must have been inspired by somewhere so may not be entirely original, it still has copyright protection over its indifference..

Copyright exists only when a digital recording or clerical copy is created, it deosnt need to be published just initially recorded for copyright to take affect.

Copyright is infringed when a piece of work is copied however this is defined by quality not quantity. ‘Fair use’ is a term used when a copy of an idea is created but it benefits the greater public..

A recorded song, has two different applications of copyright. the composition and the lyrics belong to the author and the recordings and the broadcast of it belong to the recording label. Copyright exists for 70years now since the recording which always re-directs the revenue back to the labels. One group of people believe cultural knowledge is profitable so therefore restrict it through copyright where as some people believe the value comes from giving it to the people and it time will catalyse new creations and products.


Spotify and itunes restrict there access which creates revenue/ profit,

Creative commons allow artists to create work and release it for free but still gain a value. 

The digital economy act allows the government to change the law at anytime because of how fast things are changing due to technology. It can block or prosecute you for internet piracy or illegal downloads. Lately, net neutrality is becoming more of a developed idea that the government are trying to implement..

they tried to creates a single blanket licence fee but it failed, it was too hard to enforce.

Industry Lobbying,

Exists when the RIAA & the BPI have shaped Ip laws and legislation. Because of disruptive technology that is developing at such a rate, it will eventually overpass the constant changing laws, they will have to think more long term in business model ideas instead of changing laws all the time. Lewis Hyde believes that we often refer to talents or arts as ‘gift’ so the product in turn should be considered a gift. ”Using my gift i have created this, it shouldn’t be a product. A commodity as a gift loses its value the more it is being used, but a piece of art as a gift inherits more values as it is being share and enjoyed by others. ”An offering”

Freemium has become the new business model, a combination of access to free information online. It doesn’t just apply to digital methods for instance a supermarket cheese board giving free samples as marketing technique. The model focuses on the one to one interaction or relationship with the customer. Its now much more cost effective to create restricted subscriptions in the hope of committed purchase than it is on the older model.

the music business modle operates in two ways now.

Streaming – free music available to listen and watch,

Example, physical business model which exludes adverts ext.. Sky.,

Networking Music #1

Posted: October 28, 2014 in Networking Music.

Today Tim introduced us to the module and discussed the final brief!

Looking at music since the agricultural age and how the industrial revolution had changed the way music was consumed. Printing and publications became much easier to replicate and produce on mass scales and so did the vinyl industry. Then we scanned over the concept of Fordism and the beginning of mass manufactured items.


Harris Ford, was at the forefront of the mass industrial revolution. He basically standardised the items and made them cheaper therefore more accessible to the public, As if it were a method or science.”

Then we looked at how the internet and social media had detriment impact on the music industry.. The music industry became infantile and was forced to construct new business models that would work online. The internet consists of three layers being, Coding – (free and open source to everyone) The website itself, which is created by web designers and programmers. & then the content created by anyone. Here it created it really hard for an online business model to work because interwoven layers of programmers could make whatever they want, the users and coders who make and own the websites, & then the fact the code is open source it leaves the regulation hard to happen..

Digital Economy Act.

(google – research more)

On a quest to stabilise the market, The industry are trying to share some freemium material as a business model, such as URL’s instead of the song itself,  ..The focus turned from making money to quantification and measurement such as youtube hits and shares… these have basically gained cultural value and almost seen as a new currency.

We then looked at disruptive technology & how it effects and changes the tradition of the past in the music industry.. Technology has proven new business models to not last long as the internet is an ever-changing and growing entity. Information is becoming more accessible and at much faster rates.

Longtail Effect

The internet had invoked the ‘long tail effect’ which basically states that one song can make just as much money in three months as a smash hit will in two weeks. It doesn’t make the amount of money in a short lifespan however can sustain a healthy balance over a longer period of time. Although its commonly thought of as faulty it still allows musicians can make profit and create niche markets for themselves.

The internet had spawned a new digital age and audience however there are many divisions of popular cultures that found home before the internet, <–these being dependable customers to record labels)  This allowed the industry to capitalise on those separate groups of cultures. There was so much available on the internet in a short space of time that niche markets and followings began to fail as market. Simon Reynolds defines hyper-statis as a condition brought out by nostalgia and refers to the process of an abundance of the same work but in a different styles.  These will clog up the internet because the mass production of amaturised content prevents any development of niche followers and scenes.

P.E Research for Vlog.

Posted: October 27, 2014 in Lecture Notes.

Philosophical Encounters

Associated research & own examples


Rhyzome research…. crossbreed



Albert Einstein


Logic will get you from A to B. Imagination will take you everywhere.

Albert Einstein

The true sign of intelligence is not knowledge but imagination.Albert Einstein


Religious cults or cults in general are rhizomatic in essence?


Sometimes we learn rhizomatically.. not knowing your learning..



D&G Brief.

Posted: October 26, 2014 in Philosophical Encounters.

Looking at the philosophy of Deleurze & Guittari’s A Thousand Plateau’s and with video narrative, images and sounds i will explore how these concepts and ideologies are relevant to todays cultures and music. Here are my draft notes and brief ideas..

Deleurze & Guitarri’s Theories My Examples of how they fit in culture or music
  • Tree thinking opposed to rhizomatic thinking


  • Religious or extreme  supernatural cults – rhizome


  • Territories & The Refrain






  • Chaos Miliue & Rhythm’s



  • ‘Crossbreed’ a genre that has formed out of two different genres and now stands successfully alone. –territories mechanical assemblage


  • Youtube example of territories


  • Mechanical Assemblages


  • How writing a song is a mechanical assemblage..


  • Becoming animal


  • Cross examine my own journey of making music and how I fit into Deleurze & Guitarri’s theories – territories, chaos milieu rhythms..


  • Bloc & Effect


  • Is bloc & effect a creation from learning from things that have past or a creation from a higher source / dimension.


  • Something new/ body without organs – is it possible?


  • Sensory deprivation tank, connecting to consciousness for enhanced creativy or superlearning… Is this to suggest that Einstein’s knowledge is not information’’ quote backs up the theory of burgess cone of memory.. Planes of information


  • Hyper – reality




  • Las Vegas? Or Disneyland. The creation of streets and houses creates a more realistic experience for the buyer – ‘’the fake nature of Disneyland satisfies our imagination and daydream fantasies in real life’’


  • Sex dolls haha!


  • Dangers of hyper reality – lose sight of reality. i.e fake stick up. -cop could still kill burglar with fake gun or someone could heart attack under the stress… hyper reality have real consequences



Research Notes:

Philosophical Encounters #3

‘’Really Real’’…..???


This week we looked at the above commercial for Coca Cola and the parody of what is thought to be really real? The corporate company uses a manufactured boy band (who might not have any musical playing ability) to portray their product as a Real Thing. Is coke a real drink? What is the definition of real? Is it more than just music? And what does real mean in a world that seeks to make profit of consumers.



Read Lecture Notes Here:

Philosophical Encounters #3

Posted: October 24, 2014 in Lecture Notes.

‘’Really Real’’


This week we looked at the above commercial for Coca Cola and the parody of what is thought to be really real? The corporate company uses a manufactured boy band (who might not have any musical playing ability) to portray their product as a Real Thing. Is coke a real drink? What is the definition of real? Is it more than just music? And what does real mean in a world that seeks to make profit of consumers.

Dellurze & Guitarri in a 1000 plateaus talk about ‘everything’ being real, real to that specific person at one specific time. Capturing experiences for any person committing to pay attention.. critics said this advert had prophetic properties concerning the future of music.

Multiplicity. – a number or variety of component’s.. many potential differences, not exactly two dimentional.

Some re-cap words


  • Rhizomes
  • Virtual
  • Image
  • The rhythm


Ecology of speeds..

 It is not just a matter of music but of how to live:

 Matt talked about an artist standing in front of a canvas who is looking to create something out of nothing.. however dellurze and guitarrez believe that the fact the artist is there in that process is exposing something of an unseen nature but definably there as a driving or collaborative force towards creativity or expression.

Sonic Warfare


A book by Steve Goodman called sonic warfare relates experiences as being pulses or throbs of this energy as to feel is to be effected and to be effected is to feel.

Life is a multiplicity of powers to differ, so that matter is expressive not only in its encounter with the human eye (the actually perceived, or perceptions) but also in its autonomous, vibrating and inhuman power (the virtual percept, what is there to be perceived) (Claire Colebrook, Deleuze: a guide for the perplexed. 2006: 97-98)

 Plato’s Cave

We were shown an animation called plato’s cave and discussed the matters of perceptions and reality. What is real? How do we know its real? Do we give labels to what we don’t know to give it a territory, as known territories are somewhat stable or at least opposed to outside chaos. deleuze concurs and elaborates by saying every experience will effect your relationship to things weather it was real or not.


‘ Images are no longer anchored by representation, therefore they float weightless in hyperspace.’ (Brian Massumi,

Plato Concluding..

  • Nothing is real?
  • You can access a higher truth elsewhere
  • Everything external of you is you having experiences however that wont and don’t change the moral of man.
  • Creating separation from the divine consciousness

Deleurze concluding…

  • Everything is a reality in its self
  • No start or finish to truth, always is, aways was, and is infinite
  • Everytime round the same rhizomatic system we me face similarities between experiences but indifference is inevitable. So everything is ever growing and ever changing.


 .. the virtual is not opposed to the real; it possesses a full reality by itself. The process it undergoes is that of actualisation. (Gilles Deleuze, Difference and Repetition. 2004: 263)


Fakery, forging, copying, and imitating goods, ideas, and realities, in accordance to dellurze, all have strong grounds to be considered a reality in their own right.

Matt talks about how things are an assemblage of production, the simulation isn’t as equal as the original but has a genuine experience attached to its generational audience. Hyper reality is the way we explain the grey areas between the true and the false. The fact that every copy is only an image of the original, it gains its originality by being a separate entity.


It is therefore proper to say that the system excludes the assignation of an originary and a derived as though these were a first and second occurrence, because the sole origin is difference […] It is under this aspect, without doubt, that the eternal return is revealed as the groundless ‘law’ of this system. The eternal return does not cause the same and similar to return, but is itself derived from a world of pure difference […] The eternal return has no other sense than this: the absence of any assignable origin – in other words, the assignation of difference as the origin (Gilles Deleuze, Difference and Repetition. 2004: 153)

Deluerze concludes by saying both true & false are both realities in themselves but separate from each other.

Dergsons Cone of Memory..

See slide..

This image shows the self being on the lower plane and an expanding cone growing outwards as it goes upwards.. suggesting that there are different planes or levels of memory or consciousness that one can tap into. ß- delurze claims this also\


… we are and remain “anybodies” before we become “somebodies”. Underneath the identity of our bodies or organisms, we have what Deleuze calls a body. We have the singularity of what Spinoza termed “a singular essence” […] How then can we make such pre-individual singularities coincide in space and time; and what is the space and time that includes them? …

 We need a new conception of society in which what we have in common is our singularities and not our individualities – where what is common is “impersonal” and what is “impersonal” is common (Rajchman, 2001: 14)

 Absolute immanence is in itself: it is not in something, to something; it does not depend on an object or belong to a subject. In Spinoza, immanence is not immanence to substance; rather, substance and modes are in immanence. Immanence is not related to Some Thing as a unity superior to all things or to a Subject as an act that brings about a synthesis of things: it is only when immanence is no longer immanence to anything other than itself that we can speak of a plane of immanence…

 We will say of pure immanence that it is A LIFE, and nothing else. It is not immanence to life, but the immanent that is in nothing is itself a life. A life is the immanence of immanence, absolute immanence: it is complete power, complete bliss. (Deleuze, Immanence: A Life: 26-27)