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Trampled Under Foot - interview to JPJ
(by Jeff Molten, Exposé - Oct. 1, 2000 - link)
Very interesting interview as always. Definitely worth a read. Enjoy!
Your new album fits into the aggressive instrumental mode vein than most other new releases. How did you find players to do the album live?
[Elvis Costello drummer] Pete Thomas moved to Los Angeles and Trey Gunn had got King Crimson commitments so Robert Fripp suggested Nick Beggs, who used to play with Roddy Frame. He's a got a varied background. That's what I like about instruments like the touch guitar. Players who use is usually got to it by thinking differently than using traditional guitar. In fact, the stick is probably more suited to what I'm doing than the touch guitar because it really is a two in one instrument. So (live) I'm playing the basses, Nick is playing the guitar parts, which we will continue to change in the show. People seem to be blown away by the dexterity, since the reception has been tremendous!
Well, you definitely have the surprise element on your side. DGM is a good independent label, but radio airplay for new instrumental albums is difficult.
I do radio interview, and Zeppelin gets a lot of radio airplay, which is still amazing to this day. After the interview is over, I do ask them to see if they would play a track from my album. You have to be realistic: give them a few Zeppelin things and maybe they'll play a few 'Zooma' things. Having decided to do this, I wanted to avoid doing any coat tailing. The rhythm section is similar, but the works with John Bonham are similar, it couldn't be more different.
What's it like to lead your own ensemble?
It's nice for me, with different tours in the past you're not in control as to who is on the road with you to make it as pleasant as possible. It's a nice team now and we're all pulling together. In that respect, it's fantastic since it makes everything that much easier. Part of the plan is to get it right. There has been tons of press and lots of work doing the album, and getting the equipment together. But it all comes together on the stage.
Aren't there some built in challenges doing an all instrumental set and no vocal as a counterpoint?
Nobody seems to have missed it. I do all of the album, a couple of soundtrack pieces and four Zep pieces. No one seems to notice the lack of lead guitar. I play bass lap steel on a stand too. It's not so rare; it's like a lap steel guitar. It's a great blues instrument and I've got extra strings.
You're occupying a lot of the low register with these tunes. And radio is only now playing aggressive low-end music (like Primus).
I wanted it (the album) to sound of the time. Like it was made last year and not just something drug up from twenty years ago. All the weird sounds on the album are made by the Kima sound system. I came to a point about ten years ago when I was looking for a high-end computer system - there were a few DSP systems. Looking through computer music journal I found it- it's just a box of processors in a nineteen inch rack. It's got an iconic front end and I run it from a laptop. Unlike all the classic synthesizers, you can do anything with this software in real time. It waits for me. I program the entire show with triggers, when I'm ready so I don't play with clicks (tracks). There are couple of samples, which go into loops. It's still an experimental show though. I hope to use more and more.
To balance that you also have an acoustic live set:
It's mostly traditional music done on traditional instruments. I like to use technology too. When I was in Zeppelin, I used analog synthesizers like the VCS3, but we didn't tell anyone about it. I've always been interested in experimental music and music Concrete. We're skiing through the trees sometimes (in the live set) plus if something doesn't work it's over in a minute.
How did you whittle down which Zep tracks to do?
Well, 'When the Levee Breaks' was made for steel guitar. I actually tried it live when I was touring with Diamanda Galas.
As an arranger you have to wear a different hat, how did you take what you do on the album and apply it to the studio?
The impetus for this album WAS the live show. I was thinking about doing the album for a long time. If I do an album, I will have a reason to go out and play it since it's designed to be played live. I spread the basses wide in stereo and it's quite a big sound on stage. Between the two of us (Nick Beggs) we cover a lot of territory. He even does string parts on stage as well.
The disc does not come off heavy-handed.
I look at the full album as a composition, from a micro level to the macro level. I arrive at everything the same way. You have compositional questions to answers and you just have to answer them.
You don't just start from a rhythmic state and work up the tracks from there?
Normally I just start with a walk. The album started from the three heavier riffs. I had to work out what I play. I like to play blues based rock, I'm not a jazz based player and not an experimentalist. Having to work out three of the heavier riffs and walking helped to determine what I needed.
What inspires you?
Pretty much everything. Nature does, literature and other forms of music as well. It will just set me off in another direction. I like how that happens. Not a lick or someone else's song necessarily; often times I like the way someone else has answered their questions. Like when I wrote 'Black Dog'. There was a track on Muddy Waters album, 'Electric Mud'. "That's a really nice construction", I thought. In that way I was inspired by that, but 'Black Dog' sounds nothing like it.
Is it cathartic for you to write?
Not specifically, but I can play something to get out of a bad mood.
Besides touring around your new album, licensing on DGM is just the beginning of some plans going forward?
We're going to Europe, UK, Japan, then come back to the US and go down south. You can't go everywhere since we didn't know what to expect at all. People don't about you, you know until you get there. When we toured with Diamanda, people said they wish they'd gone. Your representation follows you, not precedes you. Then after that I want to make another album. I've already got more ideas from this album and tour.
Picking a label is tough situation — why not Atlantic Records?
They asked me tricky questions such as "Where is the single, where is the video?" In the old days we had Peter Grant to chase them all away. There's really not that much to understand business-wise - you either get paid for your albums or you don't. We didn't even have a contract with Peter Grant. It was done on trust. Obviously this works both ways. "What happens if you don't get paid?" Plus on DGM I like the policy of the artists owning their masters and license. They can still own their copyrights. There is nothing more soulless than losing the ownership of your work. It kills some artists (I won't mention any names) they can switch off for five years. It happens. The approach Fripp is taking is commendable. Plus DGM likes the album. And they are in touch with the Internet. He's the label leader, which is kind of funny.
How did you meet him? Having tea?
In a newspaper article in the lifestyle section "Our first meal" of the UK: They ask you what did you have to eat... I had some salmon last night. We did it for the engineer.
How did you manage to do some producing and arranging for REM?
They came to me - Scott Litt (producer/engineer) liked my stuff. I received a hand written a two-page hand written letter from Michael Stipe. Basically, I directed the sessions to ask if the musicians could come in about half way through. I came to Atlanta and used their symphony and had some good food. They paid my fair plus I enjoy getting paid and meeting interesting people.
You've worked with some developing artists such as Elephant Ride.
They were nice guys; I think they are disbanded now. Somebody re-mixed that album. And I told them that the voice is very delicate. If you lose the voice it will sound like some thin noise. I thought the singer had an interesting voice; please try to keep it clear. The label spent the whole of the budget on this remix. I thought, "Why am I doing this?" I thought we made a great record. I've remained friends with Paul Leary ever since. I put a lot of work into my productions. I beat them (the band) through pre-production. I told them "You're paying for this, not your record company, you're going to work? It was a sheer waste of time.
Budget nowadays goes to high profile artists.
Labels also decided the Buttlhole Surfers are strictly 250,000 unit act, that the band can sell up until that amount. Paul went out and bought their own promotion then they sold another 500,000. The company wasn't that interested. They would rather be working something, which make them multi-platinum. I'm happy not to be part of it. I know producers who are happy to just sit by the phone. I'm pleased with that, I'm notorious picky - you wouldn't believe who I've turned down.
Your work ethic is still intact from the early session days: ehen you were trying to get started, how did you decide you were going to be a session player?
I was in a major band when I was 17. In those days it was Duane Eddy, and surf bands. I got booked by a couple of people. I was a Motown cover artist. I was employed to make the artists sound American. Then I started to do arrangements and I connected with the Rolling Stones management. My father told me: never turn down work. That's how I got into it.
About how many sessions were you doing?
Two to three a day, six to seven days a week. All sorts of styles, country in the evening, swing from eight to nine; from nine to ten we'd do two commercials. Page got out earlier and joined the Yardbirds. I thought he was completely crazy. I couldn't spend all the money.
How did you switch over from sessions to Zeppelin?
My wife actually - she read that Page was forming a band. He said he was going up to Birmingham to try out a singer, considering, we had talked to Terry Reid first. Robert Plant was earning 40 pounds a week. We put him on wages for a while to start. I booked him on a PJ Proby session to get him some money. I booked Robert on Tambourine to get him on the session.
There is such legend about the Zeppelin chemistry during the early recording phase - you knew you hit on something so quickly.
It was a matter of timing as well. Cream just ended. We knew it was a good band. Page and I knew how to put together a good band. Plus it was the time of FM radio. You could actually hear bands such as the Buffalo Springfield on the radio. Radio played us to death. Live we started out opening for Fillmore East and West. Also at the Boston Tea Party: Arthur Lee and Janis Joplin. They couldn't believe us because we were pretty intense.
#john paul jones#jonesy#led zeppelin#robert plant#planty#jimmy page#pagey#john bonham#bonzo#60s#70s#70s rock#70s music#rock music#ourshadowstallerthanoursoul
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Last Monday of the Week 2023-12-04
ah fuck the mondaypost
Listening: I have been going back through some of @kelp-of-discontent's recs that I've saved and not gone back to. Great taste! Here's Pool Kids's Pool Kids
I always love the unmoored feeling good math rock gives you and this really lands that.
Watching: Double Features, 1) Bara no Soretsu/Funeral Parade of Roses because @thosearentcrimes has been trying to get us to watch that forever and we finally just sat down and watched it on yes the extremely funny ultrawide monitor that was being used as my TV.
Bara no Soretsu is very good in that arthouse way where it's very unpolished and has some very out there ideas about what makes a good movie but executes on it earnestly and with a goal. It's a combination of a movie about transgender women in the underground gay men's scene in 60's japan loosely based on the myth of Oedipus and also a documentary following the actors as they make this movie, in a way that makes it kind of hard to tell when something is meant to be the movie and when it's meant to be the documentary.
It's very uh. Challenging? It's honestly less tragic than I was expecting and it's mostly just a fascinating look into this very specific time and place. The interviews are priceless, a trans woman very straight facedly looking into the camera when asked "are you having a good time" and going "no, but I'm going to keep doing it". 10/10
Also Tomb Raider but the 2001 Angelina Jolie one. An impromptu pick for Bad Movie Night because we had an empty house and didn't want to burn a good bad movie. Tomb Raider is most interesting in how it approaches shooting action which is to say that it's mostly not good at it but has brief moments of inspiration. A very generic action adventure story otherwise, featuring young Daniel Craig as a prettyboy graverobber counterpart to Lara Croft. They made Angelina Jolie do an English accent and she just could not do it.
Reading: The other short stories that came along with Story of Your Life by Ted Chiang. Tower of Babylon is a fun atmospheric story of the Ancient Sumerians building a tower to breach the vault of heaven. Division by Zero is a very compelling depiction of a mathematician going insane because she has proven arithmetic to be inconsistent, which is notably not accompanied by any material changes in the world around her, which I liked.
Making: Mostly preparatory. I have a few project I've been sketching out, including hacking my own controller onto a WS2812 LED string and automating my radiators. The stepper motors and the string arrived today. Looking into exprTK, an expression evaluation library that should be suitable for my needs, and the ESP32 RMT subsystem which is a cute little mini-DSP and modulator built into the ESP32 ostensibly for IR Remote Control but frequently used now to quickly and efficiently implement all manner of protocols.
Playing: More Dark Souls, although less this week because I've been doing other things. still working around Darkroot Basin but I really haven't been there long. The ents are a real pain in the ass when paired with the knights, not because they're very hard but because you just have to wait for them to jump you.
Tools and Equipment: a new AMD GPU tuning utility for Linux was released a little while ago, LACT, which has a much simpler interface than some of the older tuning utilities. I like it, especially since I was doing some fan noise tuning after I installed the new network card and being able to just hit the fan speed with a slider was convenient.
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Dalmia DSP Cement Grade 53 Price – 3sgroups
In the ever-evolving landscape of construction and infrastructure, the choice of materials plays a crucial role in determining the quality and durability of structures. Cement, being a fundamental component in construction, has seen various innovations and standards over the years. Among the plethora of options available in the market, Dalmia DSP Cement Grade 53 stands out for its exceptional quality and performance. The specifics of Dalmia DSP Cement Grade 53, including its pricing and availability through Shree Sivabalaaji Steels& 3sgroups, an authorized distributor.
Understanding Dalmia DSP Cement Grade 53
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#AdTechInnovations#AIinAdvertising#AudienceSegmentation#AutomatedAdvertising#Data-drivenAdvertising#DigitalAdCampaigns#ProgrammaticBuying#Real-timeBidding#TargetedMarketing
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3 Powerful Plugins to Spark Your Creativity When You're Stuck
Unlock Your Creative Potential with These Versatile Tools
As a music producer, there's nothing more frustrating than hitting a creative roadblock. You've got your track laid out, the ideas are flowing, but something just feels... off. The spark is missing, and you find yourself staring at the screen, unsure of how to move forward.
But fear not, my fellow music-makers! In this in-depth blog post, I'm going to share three powerful plugins that I turn to when I'm stuck for ideas. These tools have helped me breathe new life into my productions, and I'm confident they can do the same for you.
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Plugin #1: EFX Fragments by Arturia
The first plugin I reach for when I'm in a creative rut is EFX Fragments by Arturia. This versatile tool is like a Swiss Army knife for sound design, allowing you to transform your basic sounds into something truly unique and captivating.
At its core, EFX Fragments is a multi-effect processor that combines five different effects in a modular, customizable layout. But what sets it apart is the level of control and experimentation it offers. Let's dive in and explore how this plugin can help you break free from creative stagnation:
Modulation Madness: The heart of EFX Fragments is its powerful modulation system. You can use the built-in LFOs, envelopes, and sequencers to control various parameters of the effects, creating dynamic, evolving soundscapes. This allows you to add movement and interest to even the most mundane of sounds.
Flexible Routing: The plugin's routing system is incredibly flexible, allowing you to reorder the effects and even split the signal into multiple parallel paths. This opens up a world of sound design possibilities, as you can experiment with different effect combinations and create truly unique textures.
Presets Galore: EFX Fragments comes packed with a vast library of presets, ranging from subtle enhancements to mind-bending sound design. These presets can serve as a great starting point for your own creations, or you can use them as inspiration to tweak and customize the effects to your liking.
To illustrate the power of EFX Fragments, let's take a look at a practical example. Imagine you've got a simple lead synth patch that's feeling a bit lackluster. By loading up EFX Fragments and experimenting with the various modulation options, you can transform that plain-Jane lead into something truly captivating.
For instance, you could use the built-in LFO to create a pulsing, rhythmic filter effect, or you could leverage the envelope follower to add dynamic changes in response to the input signal. The possibilities are endless, and the best part is that you can save your custom settings as presets for future use.
Whether you're looking to add movement, texture, or just a touch of magic to your sounds, EFX Fragments is a must-have tool in any music producer's arsenal. It's the perfect companion for those moments when you're feeling stuck, as it can help you break free from creative ruts and unlock new sonic territories.
Plugin #2: Molekular by Native Instruments
The second plugin I turn to when I'm in need of a creative boost is Molekular by Native Instruments. This powerful modular effects processor is like a playground for sound designers, offering a vast array of possibilities for transforming your audio.
Molekular operates within the Reaktor ecosystem, which means it's compatible with a wide range of Native Instruments products. But even if you don't have a deep investment in the NI ecosystem, Molekular is still an incredibly versatile and powerful tool that can breathe new life into your productions.
Here's a closer look at what makes Molekular such a valuable asset:
Modular Madness: At its core, Molekular is a modular effects processor, allowing you to chain together various DSP modules to create custom signal paths. This modular approach gives you an unprecedented level of control and flexibility, as you can experiment with different combinations of effects and tweak them to your heart's content.
Morphing Mayhem: One of Molekular's standout features is its morphing capabilities. You can create multiple "morph" states, each with its own unique set of effect parameters, and then seamlessly transition between them. This allows you to create dynamic, evolving soundscapes that can add an extra layer of interest to your productions.
Intuitive Interface: Despite its powerful feature set, Molekular's interface is surprisingly intuitive and user-friendly. The modular layout makes it easy to visualize and manipulate the signal flow, and the various controls and parameters are well-organized and accessible.
To illustrate the power of Molekular, let's take a look at how you might use it to transform a simple lead synth patch. Start by loading up the plugin and exploring the various DSP modules available, such as filters, delays, and distortion units. Experiment with chaining these modules together in different orders, and tweak the parameters to your liking.
But the real magic happens when you start leveraging Molekular's morphing capabilities. Create multiple morph states, each with its own unique effect settings, and then use the built-in modulation tools to transition between them. This can create mesmerizing, evolving textures that can add depth and interest to your lead lines.
Whether you're looking to add movement, texture, or just a touch of sonic magic to your productions, Molekular is a powerful tool that can help you break free from creative stagnation. Its modular approach and morphing capabilities make it a versatile and indispensable addition to any music producer's toolkit.
Plugin #3: Sandman Pro by Unfiltered Audio
The final plugin I want to introduce you to is Sandman Pro by Unfiltered Audio. This unique delay plugin is like a playground for sound designers, offering a level of experimentation and creativity that can breathe new life into your productions.
Unlike traditional delay plugins, Sandman Pro takes a more unconventional approach, allowing you to create complex, evolving delay patterns that can add depth, movement, and character to your sounds. Let's dive into some of the key features that make this plugin so powerful:
Modulation Mayhem: At the heart of Sandman Pro is its extensive modulation system. You can assign various LFOs, envelopes, and other modulation sources to control a wide range of parameters, including delay time, feedback, and even the delay's own modulation settings. This allows you to create intricate, ever-changing delay patterns that can add a sense of movement and unpredictability to your tracks.
Routing Flexibility: Sandman Pro's routing system is incredibly flexible, allowing you to create complex signal paths and experiment with different effect combinations. You can route the delayed signal through additional effects, or even create parallel delay chains with different settings. This level of control opens up a world of sound design possibilities.
Presets Galore: While Sandman Pro is a highly versatile and customizable plugin, it also comes with a vast library of presets that can serve as a great starting point for your own creations. These presets cover a wide range of styles and applications, from subtle rhythmic delays to mind-bending, glitchy textures.
To illustrate the power of Sandman Pro, let's take a look at how you might use it to transform a simple drum loop. Start by loading up the plugin and exploring the various modulation options. You could, for example, use an LFO to create a pulsing, rhythmic delay effect, or leverage the envelope follower to add dynamic changes in response to the input signal.
But the real magic happens when you start experimenting with the routing system. Try sending the delayed signal through additional effects, such as distortion or reverb, to create complex, layered textures. Or create parallel delay chains with different settings, and then use the modulation tools to blend and morph between them.
The possibilities with Sandman Pro are truly endless, and the best part is that you can save your custom settings as presets for future use. Whether you're looking to add movement, texture, or just a touch of sonic magic to your productions, this plugin is a must-have tool in any music producer's arsenal.
Unlock Your Creative Potential
There you have it – three powerful plugins that can help you break free from creative stagnation and unlock new sonic territories. From the modular madness of EFX Fragments to the morphing mayhem of Molekular, and the delay-driven experimentation of Sandman Pro, these tools offer a wealth of possibilities for transforming your sounds and breathing new life into your productions.
So the next time you find yourself stuck in a creative rut, don't despair – reach for these plugins and let your imagination run wild. With a little experimentation and a dash of creativity, you'll be well on your way to creating your most inspired and captivating music yet.
And remember, if you're looking to take your music distribution to the next level, be sure to check out DistroKid – the unlimited music distribution platform that can help you get your tunes out to all the major streaming platforms. With their easy-to-use tools and affordable pricing, DistroKid is a game-changer for independent artists like yourself.
Happy music-making, and may your creative juices flow freely!
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Exploring the Latest Advancements in Hearing Aid Technology
Hearing loss affects millions of people worldwide, impacting their ability to communicate, engage with others, and enjoy everyday activities. Fortunately, advancements in hearing aid technology are revolutionizing the way individuals with hearing loss experience sound and interact with the world around them. Let's delve into some of the latest innovations shaping the field of audiology:
1. Digital Signal Processing (DSP): Digital signal processing lies at the heart of modern hearing aids, enabling precise amplification of desired sounds while suppressing background noise. This technology ensures clearer speech perception and a more natural listening experience, even in challenging environments.
2. Artificial Intelligence (AI) Integration: AI algorithms are transforming hearing aids into intelligent devices capable of learning and adapting to users' preferences and environments. By continuously analyzing listening patterns and environmental cues, AI-powered hearing aids can automatically adjust settings in real-time, providing personalized and optimized sound experiences.
3. Wireless Connectivity: Many contemporary hearing aids come equipped with wireless connectivity options such as Bluetooth. This feature allows users to stream audio directly from smartphones, TVs, and other compatible devices, enhancing accessibility and convenience in daily life.
4. Remote Programming: Remote programming capabilities enable audiologists to adjust hearing aid settings remotely, eliminating the need for frequent in-person appointments. This technology enhances flexibility and accessibility for users, particularly in remote or underserved areas.
5. Rechargeable Batteries: Rechargeable hearing aids offer convenience and sustainability by eliminating the need for disposable batteries. Users can simply recharge their devices overnight, ensuring continuous usage throughout the day and reducing environmental impact.
6. Directional Microphones: Advanced directional microphones focus on the speaker's voice while suppressing background noise from other directions. This feature enhances speech clarity and understanding, particularly in noisy environments such as restaurants or social gatherings.
7. Tinnitus Management: Many modern hearing aids include integrated tinnitus management features to alleviate ringing or buzzing sensations in the ears. These features offer customizable sound therapy options to help individuals manage tinnitus symptoms effectively.
8. Sensors and Environmental Awareness: Some hearing aids incorporate sensors to detect changes in the user's environment. By analyzing environmental cues, such as transitioning from quiet to noisy settings, these devices can automatically adjust settings to optimize sound quality and comfort.
9. Smartphone Apps: Companion smartphone apps provide users with convenient control over their hearing aids, allowing them to adjust settings discreetly and on-the-go. These apps also offer valuable data insights and personalized recommendations for improved hearing health.
10. Water and Dust Resistance: Hearing aids with enhanced water and dust resistance ensure durability and reliability, even in challenging environments such as outdoor activities or inclement weather conditions.
These advancements in hearing aid technology are transforming the lives of individuals with hearing loss, empowering them to reconnect with loved ones, engage in social activities, and lead fulfilling lives. If you're interested in exploring the latest technologies or upgrading your hearing aids, consult with a hearing care professional for personalized recommendations and guidance.
For more information about the latest advancements in hearing aid technology and expert guidance, visit Hearing Care Center.
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Random Audio Thoughts #4: Can DSPs compete?
Recently, Tanchjim came out with the One.
There are two variants. The one that has a standard 3.5mm SE and one with a DSP. The SE admittedly looks pretty nice and something I'd genuinely enjoy.
But the interest comes with the DSP. You see, it's not just a DSP that changes the tuning to basically another flavor of Harman.
The picture above shows the Tanchjim app with the One DSP having EQ options which is something I've never seen before in an IEM, let alone a DSP IEM. These are often saved for TWS or Bluetooth products as many of the brands have apps to change the control and EQ.
We can see the graphs up above from kr0ma which showcases all the potential tuning of the Tanchjim DSP. Itgoes from just another Harman to what seems like an SA6 clone to the SSR revival.
No matter what you may think about the tunings included, it's absolutely insane how they were able to do something like this with their DSP. And you know oddest thing about this whole situation? Tanchjim didn't even promote the One having an application. It was only discovered thanks to kr0ma for bringing up the app and showing the potential tunings.
This makes me think that there's a future in DSPs. I'm about to release a review for the EW100 DSPs and made a shorts regarding DSPs being the future, and I think this can solidify my statement that it CAN be the future.
But until companies actually actively promote their DSPs and provide an application, Tanchjim will rule this current niche that could potentially revolutionize wired headphones.
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I think what fans forget is that SM is literally the only original Kpop company that still has a big impact on the industry. Other companies like DSP which introduced idols into the industry lost their relevance. Now that HYBE has SM they basically control the past, present and future of the Kpop industry. Cause as much as fans don't like to admit it HYBE is the main company in terms of the future of Kpop. But what they didn't have which was obvious in the way they basically took most of SM's staff was the experience SM has.
With SM they now have all generations of Kpop idols, history and expertise SM has. In terms of business this will be interesting to watch. But as a fan I really really hope that we don't lose what makes SM special and I hope that we don't end up with a massive wave of artists leaving the company.
JYP was founded in 1997 and BSK worked there from the beginning for some time. Stray Kidz, Twice and Itzy are super popular. Why is only SM counted? Din't g.o.t start the trend of idols in variety shows?
It looks like a lot of the expertise you mention is LSM and the artists. People are worried SM doesn't have enough producers to fill in the proposed 5 divisions. LSM was the new group producer.
2 (?) years ago Hybe started to do "family concerts" like SMTown.
LSM will die one day, so sooner or later SM will change its owners. He wanted to secure the trajectory, and it looks like he still fights for it. News say Hybe promised not to interfere.
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A long bitch of an interview with Euronymous, from Orcustus zine in early ‘92.
What is Orcustus? Orcustus was an early 90’s black metal ‘zine run by none other than Bård “Faust*” Eithun— murderous pretty-boy, and o.g Euronymous simp. I think he might have also played drums in a band called Emperor... but I’m not sure! Its full name is actually “Orcustus— The Shadow of The Golden Fire”, and no, I’m not making this up.
This particular issue here opens up with a quote from a short story called ‘The Doom That Came To Thomas Parkes*’.
Assuming the reader hasn’t read the story, Faust explains that the quote is in reference to what happened to the titular ‘Thomas Parkes’ when he tried to raise spirits. Faust then admits that he’s unsure of his own ability to ‘raise spirits’, but says he hopes that he’ll raise some fists in agreement that there’s something wrong with the underground scene. Ironically (you’ll see why this is ironic very soon), he doesn’t like that certain bands, namely Entombed, are selling so many copies of their LPs.
After a brief diatribe on just that, he goes on to explain that he was in a rush to get this mag out because of problems with the printer. Then, he tells anyone who doesn’t like the fact that this ‘zine only features black metal that they can fuck off, with three exclamation points.
Finally, we get to the end of the opening page, where Faust pulls what can only be called an early form of the Twitter exposed thread. It reads as follows, with absolutely no changes to the text:
“I would suggest you to not do any business with that sucker Evil Ludo from France. He have riped me and several others off, by not return what we ordered. I suppose he’s a medical sensation, as I didn’t know it was physical or psychical possible to live without a brain”
Why am I telling you all of this, when this is only meant to be a transcript of an interview with Euronymous, you may be asking? Because I find it funny, that’s why.
Anyhow, the Euronymous here acts and feels very differently from the Euronymous of the last interview I posted. However, I hope you’ll still enjoy it, and I hope you’re able to appreciate the tiny glimpses of humanity talking to a close friend allowed him, even though they both behave like complete asses. Even though it’s hard to sympathize with him at points.
Like last time, any (sparse) commentary will be between (parenthesis) and in bold. Without further ado, let’s get into it.
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F: Well, how in hell shall one be able to come up with an intro worthy enough for this band? The words I wanna describe Mayhem’s music with, is not yet created, and it won’t be created either, because no one has really experienced the real darkness and pure brutality with lays behind Mayhem’s hellish sound, but I suppose you all are familiar with this band anyway. Well, in the first place, I hadn’t really thought to enclose this band in this issue, because if we look away from rereleases of old demos (“Pure Fucking Armageddon”) and live tapes, it’s a pretty long time since their last release (in ‘87 that was). I thought I rather should interview them when they released their forthcoming album “Dee Mysteriis Dom Sathanas”, but due to the circumstances, I realised the time was right for an interview now. I won’t bother you with any history shit, but I could tell a bit about what has happened last year. You all know that their vocalist Dead comited suicude in April ‘91, that was a bigg loss for the underground, and I suppose I don’t need to say that this mag is dedicated to the memory of that infernal man. Anyway, Dead was replaced by Cultòcùlus (back then called Occultus), but due to different problems within the band, he left the band in January ‘92, but let’s not say more about that, as Euronymous didn’t want me to say anything about it at all (but Euronymous, you must admit that it has sounded pretty artificial if I hadn’t mentioned it at all). So now, the band consists of Hellhammer (drums) and Euronymous (guitar (and probably bass too)). I know the singer of Tormentor (rip) from Hungary (Esihar Attila) is interested in singing on the album, and also even moving to Norway, so it seems like Mayhem got some sort of predilection to foreign vocalists, but this Hungarian guy happend to be a good one as well, so never mind that. But I don’t think this is official, so don’t tell anyone you read it here, ok? Well then, it’s an honour for me to dedicate the next following pages to one of today’s most legendary and infamous bands......... THE TRUE MAYHEM!!!!!!!
F: First of all Euronymous, I know you and Dead live/lived totally for the old black metal attitude. Is your hate now total to young and trendy bands after Dead’s suicide?
Euro: YES, we have declared WAR. Dead died because the trend people have destroyed everything from the old black metal/death metal scene, today “death” metal is something normal, accepted and FUNNY (argh) and we HATE it. It used to be spikes, nites, chains, leather and black clothes, and this was the only thing Dead lived for as he hated this world and everything which lives on it. If we had the economic possibility to do it, we should meet up at concerts and beat up ALL trend people ALL the time untill they would be too scared to go to concerts at all, now we need to suck their money instead. It’s impossible to stop the trend no matter how much we want, we have to do the best out of it and sell lots of trend shit to them. (I don’t need to tell you that that’s totally not why Dead killed himself, right?)
F: In the spring of ‘91 you started up a shop in Oslo which sells all sorts of music within metal. Is there anything you can tell us about the shop (ideas? plans?)?
Euro: Well, the original idea was to make a specialist shop for metal in general, but that’s a long time ago. Normal metal isn’t very popular anymore, all the children are listening to “death” metal now, I’d rather be selling Judas Priest than Napalm Death, but at least now we can be specialized within “death” metal and make a shop where all the trend people know that they will find all the trend music, this will help us earning money so that we can order more EVIL records to the evil people. But no matter how shitty music we have to sell, we’ll make a BLACK METAL look on the shop, we’ve had a couple of “actions” in churches lately, and the shop is going to look like a black church in the future. We’ve also thought about having total darkness inside, so that would would have to carry torches to be able to see the records.
F: Well, how is the situation all in all in the Mayhem camp right now?
Euro: Difficult as usual, but we’re closer than ever to record the Mayhem lp. Almost all the material is completed, then I and Hellhammer will record the whole thing with 3 guitars, 2 basses and so on. It will be very massive. Who’s to sing on the lp is not yet decided, we’ll wait and see what happens. We have several people who can do the job very well.
F: As Metalion of Slayer mag* said: ���it seems like you at certain times lives on the edge of starvation”. Have you ever been on the thought to just give up the whole band and become a normal 9 to 5 person, or is this a completely stupid question to ask?
Euro: It has been very hard at times, but I am not a normal person anyway so it would just not be possible to do that. I’ve been thinking a lot lately about why things are as they are (this answer will be long) (that’s okay for me/Ed). The reason why we don’t have any money, is because of hardcore. We have for too long been following the “underground” rules, which say that you must hate money, you must not think you are anything, you must be open-minded, you might have a lot of attitudes and so on. Extremely stupid. But the situation has been that if you don’t follow these rules which are made by hardcore pigs, you are not accepted as a death metal or black metal band! Then you MUST be signed by some big label to be able to make some money, and we’ve never wanted to do that. Then you would anyway be labelled as “commercial” by the HC pigs. This has caused that after 8 years, we are still as broke as ever, while the HC pigs themselves are controlling all labels, and they sign only the bands which fit into their own idiotic world, that means “death” metal bands with society lyrics and jogging suits, and this is what the people see when they grow up. They don’t see any EVIL bands with spikes, as we did. Well, I’m tired about being broke, just to be “underground”. I’m tired of not having money to eat for just because tons of people will call you a “rip-off” if you don’t write 20 letters each day. It’s time to say fuck off to the whole system, which is built to strangle the evil bands in the birth. We must start taking inspirations from the ancient ones, from Venom and their likes. They did their thing BIG, and they never had to think about any idiotic underground rules. They did it big and so must we, but it must never become a trend, it must become a CULT. This is why we have started on a brand new policy with the band and the record label. It’s about time that someone makes a label for black metal and other grim music, and STRIKE BACK. There is NO reason why DSP shouldn’t be as big as Peaceville or Nuclear Blast, if we can just get the business on its feet again and get good distribution. That’s the only way to compete with the HC labels. It’s about time we start taking control over our own scene. We must spread the EVIL bands and pervert people’s souls.
F: What about the Norwegian scene then? Don’t you think that something is terribly wrong when it have gone so far that we have a christian “death metal” band here (Crush Evil)? Advices on how we should kill them?
Euro: First of all— the Norwegian scene is the BEST. There are a lot of GREAT bands (yet with no album out) and of course some shitty trend bands, but nothing as in Sweden. There you have 2-3 good bands out of 100, while here we have a few shit bands who hardly have made even a demo, while all the great bands will make records in the near future. Such as Darkthrone, Burzum, Immortal, Thorns (I’m flattered/ED*), Arcturus, Enslaved and newer bands like Malfeitor and others which I have not yet heard. BUT— when it comes to bands like Crush Evil, we must take serious action. It’s bad enough to have a couple of society bands, but a CHRISTIAN band is too much. But don’t worry, we have plans. They will not continue for a very long time.
F: And now over to something more humouristic....yes.... snuff movies. Who had been the perfect actor for a snuff movie, and why the hell aren’t they legalized? Don’t you think that every video-store should have its own section with snuff-movies?
Euro: Actually I think it’s great that movies like that are forbidden. If they were legal and easily accessible, all the small trend children would be watching them, and then it would not be something extreme anymore (I’m not sure if I agree with you here Euronymous. Snuff movies are usually too raw and brutal for the people with their “peace and life” infected minds. Remember the HC rules/ED) (shut the fuck up, Faust*) It’s just the same what happened to death metal— it became something everyone could buy in every store, something normal and accessible for everyone. All the mystic and evil atmosphere is GONE. I do not think snuff-movies are funny, I think they are DARK. I’ve seen people laugh at them, but that’s probably because they will not be mentally able to take the PAIN and EVIL on over themselves. That is the best way to watch such a movie, to try to FEEL the actual pain of the victims. It becomes much more gruesome then, and that’s great. One must be alone in the darkness and suffer with the victims, if you watch it with other people, they will often talk, laugh and so on, and then you get more distanced from it, it’s not supposed to be funny (death to fun), it’s much better when it’s depressive.
F: Through the years you have been talking about releasing bands like Samael, Rotting Christ, Master’s Hammer, Tormentor, Matricide, Imperator, Massacre etc. on Deathlike Silence Prod., but now some of these bands have released lp’s on labels which only have money in their eyes and know that black metal sells. Doesn’t that frustrate you, and don’t you feel it like the time is running out for you?
Euro: It’s a bit frustrating, but it is also a result of trying to be “underground” which is a suicide policy. Anyway, the main thing is that these evil records get released at all, and not who’s releasing them. We will probably release a record with Tormentor, they’re split up, but they still want to make their Anno Domini demo on vinyl, and we’ll try to fix it within the summer. The time is not running out, because there are a lot of really evil bands around. — most of the Norwegian bands which other labels haven’t heard about. Burzum is ten times better than all the bands on Earache together, and so are Thorns and Arcturus. So there is no problem, really. As for bands like Rotting Christ and Master’s Hammer, we might do something in the future instead. I’ve never been talking with Samael about any deal, but I wish I had as their album is FUCKING GREAT.
F: Almost all bands in the underground today says that they think they got their own style and originality, but the fact is that 95% of the bands sounds totally the same. What is an original death metal band today?
Euro: There exists no death metal bands today. There are only a handful of (mostly great) bands (in case someone hadn’t got it right— black metal has nothing to do with the music itself, both Blasphemy and Mercyful Fate are black metal. It’s the LYRICS, and they must be SATANIC. If not, it is NOT black metal) and what we choose to call LIFE METAL bands. Take a band like Therion. Their music is quite ok, it’s actually one of the best Swedish bands (even though that doesn’t say much) but their lyrics STINK. They are about society and pollution, what the fuck has that got to do with DEATH? If a band cultivates and worships death, then it’s death metal, no matter what KIND of metal it is. If a band cultivates and worships Satan, it’s black metal. And by saying “cultivates death”, I don’t think about thinking it’s funny, or being into gore, I’m thinking about being able to KILL just because they HATE LIFE. it’s people who enjoy to see wars because a lot of people get killed. How many bands think that way? Not many. I can’t think of one.
F: You’re maybe not the most active band when it comes to gigs, but at least you’ve managed to tour Germany and Turkey. What can you tell us from the tour, and is there any new gigs planed?
Euro: That tour was a big mess, we’ll NEVER take the train again! We lost quite some money, but still it was great to get to East-Germany and Turkey. The memories of the tour consist mostly of the starvation and idiotic custom officers, but still I wouldn’t like to have missed the opportunity. We don’t have any concrete plans, we’ll see happens in the future. We don’t like to play for a lot of trendies in jogging suits, so we prefer to leave it be.
F: What do you think of the fact that death metal has been on MTV?
Euro: It sucks. But it isn’t death metal anyway, so....
F: I know that you will soon release the debut album of Abruptum on DSP, so, what can you tell us about it?
Euro: It’s EVIL. It’s PURE EVIL, they were torturing each other in studio DURING the recording and you can HEAR on the music how they SUFFER. It will be the most demented record EVER, and it’s NOT for normal people. This is music which NEVER can become trendy, because normal people won’t be able to understand it. And that’s great. The price for the album it’ll be the same as for the BURZUM lp, which should be somewhere else in this ‘zine*. It’s called “Obscuriratem Advoco Amplèctere Me”, and stay away from it if you don’t like pure DARKNESS.
F: Don’t you think that people in the underground should respect others ideas and views more? I mean, it’s not accepted to spread unpopular thoughts. It seems like there is some sort of guardians of morality and most people keep in mind not to say or do anything which is not accepted by the public.
Euro: I don’t think people should respect each other. I don’t want to see trend people respecting me, I want them to HATE and FEAR. If people don’t accept our ideas as their own, they can fuck off because then they belong to a musical scene which has NOTHING to do with ours. They could just as well be Madonna fans. There is an ABYSS between us and the rest. Remember— one of the HC rules is that you must be open-minded (except for themselves), so we must be careful and avoid being open-minded ourselves. The HC pigs have correctly made themselves guardians of morality, but we must kick them in the face and become guardians of anti-morality.
F: You say you want your riffs to have a dark mood and really sound evil, but what if you came up with a riff which just sounded good, but not evil. Would you use it then?
Euro: Well, if a riff sounds good to me, it mostly means that it sounds evil too. At least when I make the music myself. Haven’t really thought about this about this before.
F: Do you think you’ve been playing this sort of music today if it weren’t for those old bands like Mercyful Fate, Venom and Hellhammer?
Euro: It’s impossible to say. Venom and the other ancient ones have been fundamental influences on Mayhem, and also the direct reason of the band’s existence. We like to think that if they hadn’t started up this, we would have, but who knows? Doesn’t really matter anyway, we hail ancient Venom as the CREATORS.
F: Ok, no more questions at the moment. End the interview in what way you want......
Euro: Perhaps it should be mentioned that well re-release the MAYHEM mini-lp “Deathcrush” VERY soon. We also have t-shirts available now. People should write for prices on things. Be EVIL, not open-minded.
Ok, I suppose some of you already know that Euronymous started up a shop in Oslo in the spring of ‘91. The shop is called “HELVETE” (which is Norwegian and means “HELL”) and are specialized within underground stuff and death metal in general (though he also have some other styles of music there). As he said in the MAYHEM interview, the shop really have a black metal look, so if you ever visit Oslo, I really recommend you to visit “HELVETE” as well. I think it’s good that people take the initiative to start up with such things, because if everyone were just passive, we would all get ruined by poser-shops like Hot Records where they take 140 NKR for the Earache albums (which you in “HELVETE” can get a CD for the same price). Euronymous also sells though mail, so write and ask for a list or something: HELVETE, Schweigaardsgt. 56, 0656 Oslo. NORWAY.”
That’s all! :)
And now for the things I put in asterisks, in order of their appearances.
*If for some reason you actually don’t know who Faust is, he was the drummer on the Emperor LP and “In The Nightside Eclipse” but you might also know him from other great hits such as “threatening to kill Mortiis from prison whilst simultaneously attempting to plead murder of the secondth degree”, “I’m glad the people Euronymous ripped off won’t get their money back because he’s dead hA hA!”, “I got fourteen years for murder because I’m a socially inept virgin— oops” and “bad... bad lyrics who’s quality somehow don’t improve with the passing of time”. All jokes are done in good humour— if it seems like I dislike him, it’s not that at all. I just find him easy to make fun of.
Here is another short bio, this one less sarcastic: he was born in Trondheim, lived around Kvikne, and Lillehammer, worked at Helvete, was a close friend of Euro’s, and has his sun in Taurus.
He also beefed with Glen Benton for dissing the Party City cape (Note: of course I’m being extremely reductive) he and Euronymous seemed to share. Here are a few pictures of Faust:
Here is the infamous Party City cape:
*This was surprisingly hard to find. I think he read it in a mag or something. Here’s a link to where you can find it: https://issuu.com/davidgamble/docs/paranormal37/3 page 64-65.
*Slayer mag was another zine, this one by a bloke named Metalion, who was Euro’s best friend.
*Faust (who felt the strange need to make a distinction between himself, the editor, and himself, the interviewer) also played in Thorns (well, Stigma Diabolicum), under the hilarious moniker: Fetophagia✨
*He’s being a fucking idiot, what was I supposed to say? It should be noted that Faust actually went down for the snuff films too.....
*In case you’re interested, for whatever reason, the prices for the Burzum LP were as follows:
Norge— 130 NKR
Norden— 100 K
Finland— 60 FN
Island— 1000 IK
Europe— 15$
Outside Europe,
Overseas— 15 $
Air— 22$
East Europe— 10$
By ‘norden’ he presumably meant ‘northern Norway’, and “Island” is the Norwegian word for Iceland. Notice the way he doesn’t include Sweden! (Edit: Originally I thought he didn’t include Finland because there was a black metal war with them as well, but it seems as though that feud came a bit later or had already passed)
That’s all, for real this time!
Legal disclaimer: I am absolutely, in no way shape or form, claiming that the stupid cape you see them wearing is literally from Party City. From my limited research, I’ve gathered that the Party City chain hasn’t yet opened its doors in the beautiful and glorious country we know as Norway— Norge. However, I am saying that the cheap, dinky piece of cloth covering their backs and shoulders are of the same kind of shitty quality you’d expect from a Party City Count Dracula costume and that maybe Glen had a point about how stupid Euronymous (and Faust) must’ve looked.......
#black metal#euronymous#mayhem#emperor#euronymous interview#interview#Faust#Orcustus zine#true norwegian black metal#my transcript#Bard Faust#look at these fucking dorks
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What Swift is doing might seem more like an attempt to win her longstanding battle against Braun than a calculated business move. But according to several industry veterans who spoke with VICE, if Swift pulls this off, she stands to make an unthinkable amount of money—and decimate the value of her old recordings in the process.
You'd think Swift's contract with Big Machine might prevent her from re-recording her old music, but she can legally do so for two reasons, according to Dina LaPolt, an entertainment attorney who represents Steven Tyler, 21 Savage, and several other high-profile artists. Firstly, while Shamrock Capital owns the master rights to Swift's first six albums—or in other words, the sound recordings on those albums—Swift owns the publishing rights. (Because she wrote her own songs, she retains the rights to the lyrics, melodies, and compositions that comprise them, and she doesn't have to ask permission from or pay anyone to use them how she sees fit.) Secondly, the "re-recording restriction" in her contract with Big Machine—a standard part of any record deal, which long prohibited her from recording new versions of the songs she released through the label—has reportedly expired. When Swift releases new versions of her old songs, she'll own both their master rights and their publishing rights, earning every penny they bring in and securing unilateral control over how they're used.
She's almost inevitably going to yield that power to license her music to advertising agencies and film and TV studios, according to Guillermo Page, a former record label executive who's worked for BMG, EMI, Sony, and Universal, and who now teaches in the University of Miami's music business program. To license (or "synchronize") a song, you need permission from the record company who owns it and the songwriter who wrote it. Swift has always said no to licensing offers on the grounds that they would profit Braun—but now that she's cut him out of the equation, she can strike those deals herself, and take home 100 percent of the profits they reap.
"She has all the leverage, and all the control," Page said. "Even if the current owners of the old catalog want to do some type of deal for synchronization, without her approval as a songwriter, they wouldn't be able to do it. By recording the masters herself, it opens the door for her to do those deals directly."
In all likelihood, Swift's collaboration with Match.com, which used her re-recorded version of "Love Story" in its latest ad campaign, wasn't a one-off; it was the first of countless licensing deals Swift is going to make with her re-recorded music. According to LaPolt, Swift will easily be able to convince companies to come to her when they want to license her masters instead of paying Shamrock Capital for them.
"I have some clients who have re-recorded their big hits," LaPolt said. "We have management companies that are very, very savvy in this area, and they went out to all the music supervisors at all the film and TV companies. These companies all know to come to the management company and license the re-records, because it'll be a lot cheaper, and the artist wants that."
Ad agencies and film studios interested in Swift's music will want to use her as a one-stop shop: By going to her directly, they can secure a license to both the publishing and master rights to her music in one fell swoop, as opposed to licensing the publishing rights from Swift and the master rights from Shamrock. Additionally, according to Tonya Butler, a former label executive and the current chair of Berklee's music business program, Swift will probably cut her licensees a deal.
"If she knows how much the record companies are charging, she's going to undercut them at every opportunity," Butler said. "Record companies are notoriously much more expensive than the publisher would be. It's much easier—and cheaper—to license from one party that controls both sides."
Butler raised the possibility that Shamrock may try to turn the tables on Swift: Instead of allowing her to undercut them, they could opt to license her songs at cost, making it cheaper to acquire them from the private equity firm. But because Swift controls her publishing rights, she could ostensibly revoke a company's clearance to use her music if they try to work with Shamrock. In the battle over synchronization, Swift seems guaranteed to come out on top. But Butler cautioned that Shamrock may already have a strategy in place for that.
"Just because we don't know what's up their sleeve doesn't mean that there's nothing there," Butler said. "We've known that she's wanted to re-record since 2019. [If you're Shamrock Capital], you don't spend that kind of money without having some kind of plan."
Swift stands to rake in hundreds of thousands (if not millions) of dollars through licensing deals—but when it comes to streaming revenues, Shamrock may have the upper hand. When the average listener wants to hear a Taylor Swift song, they'll generally opt for the old version as opposed to the new, especially if Swift's re-recordings sound significantly different than her original masters, according to Page. (It's worth noting that Swift recently said her re-recorded music will contain "plenty of surprises.")
"One of the things that you will find when artists re-record their songs is that they want to change certain things," Page said. "When they do that, they don't realize that they are changing a masterpiece—they're changing a song that is already known in a certain way. The moment you change it, it's not the same song. And that is a risk that she's taking."
Even if Swift tries to replicate her old recordings note for note, she might not be able to do so flawlessly, Page said. She was 16 when her self-titled debut came out; at 30, her voice doesn't sound the same as it did back then. Additionally, producers have changed the way they record music, and the technology they use has evolved.
"She can try to drive consumption by letting her fans know that the new versions are there, but that will be applicable for only the most hardcore fans," Page said. "The reality is that she will be competing against herself on all of those platforms. And it will be very difficult, because the other songs are already out there, sitting in thousands and thousands of playlists, on all the different platforms and services."
There's a chance that Swift could try to either sweet-talk or strong-arm DSPs like Spotify and Apple Music into prioritizing her re-recorded music on their platforms. Imagine, for instance, that Swift wants Spotify to remove the original master recording of one of her songs from a popular playlist, and replace it with her re-recorded version. She could threaten to withhold her new recordings from Spotify altogether—along with all of her future releases—if they don't oblige. But according to Butler, a streaming service like Spotify would probably balk at that.
"I cannot see Spotify switching out those songs," Butler said. "Shamrock could sue. If I have a license with you and we both agree that for however many years, you are going to distribute my music on your platform, and then somebody else comes along and you replace my music with theirs, then you have breached your agreement with me. That would be a huge mess."
Assuming DSPs like Spotify stay out of the fray, the odds are that most listeners will continue to stream Swift's original recordings instead of her new ones. Then again, her fanbase is fiercely loyal; there's a chance her re-recordings wind up dwarfing the old versions. Ultimately, it doesn't really matter: Because she's still entitled to royalty payments on her old recordings, Swift makes money either way. She can't lose.
Considering how foolproof, how lucrative, and how simple Swift's ploy to own her masters seems to be, you have to wonder if other artists might mimic it. So many musicians have spoken out about being infuriated that they don't own their masters, and have fought—almost always unsuccessfully—to reclaim them. If all it takes to win that fight is getting back in the studio and making new versions of their old songs, why can't every artist do it?
The answer, in short: because they're not Taylor Swift.
"You have to have what Taylor Swift has, which is an enormous audience and an enormous brand," Butler said. "It's working for her because she's got all the pieces of the puzzle. If you don't have that social media voice, if you don't have that brand, if you don't have her money, if you don't have all of the things that she has, it may not work for you."
Butler said she has no doubt that other artists will try to follow in Swift's footsteps, only for many to find something standing in the way. If they didn't write their own songs—or even if they wrote part, but not all of them—they won't have the legal right to re-record them. If they're not wealthy enough, they won't be able to cover the high cost of recording, especially not in a way that produces a carbon copy of their old music. If they haven't cultivated a rabidly devoted fanbase, they won't be able to convince people to stream their re-recordings instead of the original versions. Still, Butler said, many artists are going to try to replicate what Swift is doing—and record labels know it.
"The first thing that's going to happen is label contracts are going to change," Butler said. "They're going to try to set it up to where this cannot happen to this extent."
The way major labels would do that, according to LaPolt, is by making re-recording restrictions more stringent. As it stands, an artist is typically prohibited from re-recording music they make for a label for three to seven years after it's released. Going forward, labels could try to bump up the term of that restriction to 20 or 30 years, if not extend it in perpetuity. It's almost a given that they'll try, LaPolt said.
"Every time there is an amazing thing that an artist does to get out of their deal, or get their IP back, [record companies] come up with some dastardly, ugly thing to make sure that doesn't happen again," LaPolt said. "I can tell you right now, we would fight tooth and nail against that."
In some ways, what Swift is doing seems like a turning point for the music industry, one that could inspire an untold number of artists to take control of their master rights and irrevocably reshape the way record contracts are written. It's possible that we'll look back on this moment as a major landmark. What's more likely, however, is that it will prove to be nothing more than yet another shrewd move by a pop star who's risen to the top of her field by making so many of them, creating opportunities for herself that almost none of her peers are wealthy, successful, or cunning enough to secure.
"Is this a watershed, where everybody starts doing it—no way," Butler said. "I don't think that the majority of artists will be able to pull it off to the extent that Taylor Swift has. Is this a unicorn? No. But it's a horse with, like, five legs."
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Top 20 Most Underrated K-Pop Songs of the Decade (2010-2019) PART 2
The 2010s has come and gone before we knew it.
Continuing with the K-Pop Timeout Tradition (see 2018 Ver) of listing the Top 10 Most Underrated K-Pop Songs because all the other sites are just bothered with the Top 10 that pretty much everyone will have heard of/have fan wars over, below we have created a list of the Top 20 Most Underrated K-Pop Songs of the Decade because 10 spots is not enough to cover the amount of talent slept on.
For these reasons, we have listed 10 of them here in PART 1 and will list an additional 10 in here. This is in alphabetic order NOT in the order of awesomeness because all of them are awesome. Also, all MVs are linked in the song titles because Tumblr won’t let me share that many videos in one post.
Rainbow “Sweet Dream” (2011)
The younger sister group of DSP Media’s highly successful 2nd gen girl group KARA, Rainbow never received much attention at all in comparison, never having received any music show wins since their debut in 2009. While this may be a result of DSP’s mismanagement (e.g. changing the girls’ concept from edgy to cute all of a sudden mid-way in their career and chucking them to promote in Japan before they have a solid domestic fanbase), it was never because of the quality of Rainbow’s music. Even K-Pop critics would agree that their 2011 comeback “A” is an all-time K-Pop classic. However, we would like to bring attention to “Sweet Dream”, because it is one of the best Rainbow songs ever and even more underrated than most of the songs in Rainbow’s already highly underrated repertoire. Following powerful poppy tracks like “A” and “Mach”, Rainbow appeared to be developing a style completely unique of their own in “To Me” and it reached fruition in “Sweet Dream”. It was not just poppy and powerful but showed emotional depth and the beautiful harmonies of the girls. While the girls have all left DSP Media, the girls are super close and they have chosen not to disband, thus becoming the only 2nd gen girl group still active with the full original lineup. The members even self-funded their 10th-anniversary comeback this year. If you love to support beautiful music and an even more beautiful friendship, listen to “Sweet Dream”!
RANIA “Just Go” (2013)
Newer K-Pop fans would probably just know RANIA for Alex’s brief stint in the group and making it the only girl group to ever had a Black member on its lineup. But even before Alex joining the group, RANIA had been known for breaking barriers in the conservative K-Pop industry. Their debut song “DR Feel Good”, which was originally written for Lady Gaga, was seen as too sexy by the Korean public when all they did was wear leather, get low and hair flip a lot. Their later songs continue to be powerful and amazing but it appeared that the public just chose to always label them as the “too sexy” group. “Just Go” is an example of their brilliance that the K-Pop industry was just not ready for at the time. “Just Go” is a party track carried by extremely song vocals and creative choreo where the girls interact a lot with the back dancers. The girls also wore lace full-body suits, leather jackets and actual pantsuits in different scenes throughout the MV. The song exudes so much BDE before BDE even existed as a term. If you want a confident girl group power anthem, “Just Go” is the song for you.
The SEE YA “Be With You” ft. SPEED’s Taewoon (2012)
The SEE YA was MBK Entertainment’s (formerly Core Contents Media) first ballad group after the highly successful Davichi. While Davichi is more of a pop ballad group, The SEE YA being technically a reboot of the RnB group SeeYa went for a darker sound. Their typical sound is encapsulated in their debut song “Be With You” ft. SPEED’s Taewoon, which had lovely harmonisation and also piercing high notes. The vibe of the song simply tugs at your heartstrings like a beautiful melodrama OST. Even the MV itself is a melodrama. MBK really should have promoted the group’s own music more instead of doing lots of cross-group collaborations so more people recognised The SEE YA’s own unique sound. While The SEE YA has disbanded in 2015, their music lives on as extremely underrated masterpieces. If you love dramatic ballads and K-Drama OSTS, you should check out “Be With You”!
SPEED “That’s My Fault” ft. Davichi’s Minkyung (2013)
Another talented group that unfortunately disbanded in 2016 due to MBK Entertainment’s poor management, SPEED is an exceptionally talented group that deserved so much better. Some K-Pop fans may know SPEED for their crazy choreography on heelys, but not as many know them for their vocal and rap talent. SPEED’s debut song “That’s My Fault” ft. Davichi’s Kang Minkyung is one of the rare male idol debuts that was super melodramatic and also pays homage to real historical events. The MV depicts teen love that slowly blossoms in the backdrop of the 1980s Gwangju Democratization Movement of South Korea which ended up with 144 civilian deaths, featuring the acting of Ji Changwook, Park Boyoung, A PINK’s Naeun and Ha Seokjin. For a rookie group to have the skill and emotional depth to convey such a song is rare and there are not even that many veterans groups that have made songs honouring historical events and tragedies. These qualities make it one of the most underrated songs of the decade. If you like songs that pay homage to historical events, you should check out SPEED’s “That’s My Fault”!
SPICA “Russian Roulette” (2012)
When discussing extremely talented but underrated K-Pop girl groups, SPICA would definitely be brought up in such a conversation. The members are all amazing and powerful vocalists with a lot of attitude. Even the visual member, Jiwon, was hitting the whistle register. It is unfortunate that the group was consistently slept on and disbanded in 2017 (although member Bohyung has teased at a possible reunion). It is not an overstatement to say powerful vocal girl groups like SPICA walked so groups like MAMAMOO today can run. “Russian Roulette” is their debut song but it is already K-Pop gold - it showcases every member’s vocal skills and different ranges. The whistle loop in the chorus is also super addictive and memorable. So if you love vocal-heavy girl groups and their songs, you would love SPICA’s “Russian Roulette”!
Stellar “Crying” (2016)
Mainly known for their controversial and sexual MVs, Stellar actually was a very talented group whose talent was often overlooked by controversy due to management by a company that just wanted views when their initial cute debut song “Study” did not generate enough attention. When the group disbanded in 2018, members revealed in interviews that they were uncomfortable with the concepts they had to do and would not have been an idol if they knew it would be like this. And really the company should have allowed the girls more opportunities to do concepts they enjoyed and to showcase their abilities. “Crying” is an example of Stellar’s actual stellar talents - it includes beautiful vocals and harmonies as well as some fun laid-back rap. This addictive summer track would have dominated charts if it was sung by less controversial and already established acts like Son Dambi, After School, AOA or SISTAR. If you love a good summer bop, this is the song for you!
Sunnyhill “Midnight Circus” (2011)
How often do you see a K-Pop song critiquing the harsh realities of the K-Pop industry? Rarely. And Sunnyhill’s “Midnight Circus” is one such song. With the co-ed group donning the concept of a being a dark circus troupe, the song compares the K-Pop industry to that of a circus, where people are forced to perform in dangerous conditions often against their will or in ways they are not interested in. Such insights still ring true today with idols being constantly hurt in poor working conditions or suffering immense and often fatal amounts of stress from public scrutiny. The song itself also draws heavily from instrumentals one would associate with a circus - accordion riffs, heavy usage of the fiddle and also brass instruments. The singing is also very experimental and artsy - at times the members sing like they are speaking dramatically on stage, at times they are whispering ominously. The choreography is also creative and often has the members and back dancers moving like puppets controlled by the circus *cough* K-Pop industry *cough*. The fact that the remaining members of Sunnyhill are currently wallowing in obscurity and do not even have a changing room for their group’s music show comeback stage speaks volumes of how underrated they are. If you love insightful and well-executed concepts, you would be obsessed with “Midnight Circus”!
TRAX/TraxX “Escape” (2018)
In the early 2000s, SM wanted to produce the best solo artist, the best boy band, the best boy band and the best rock band. While they achieve the first two through BoA and TVXQ, SM struggled to make CSJH and TRAX as successful. TRAX has gone through multiple concept changes over the years - from glam metal to pop-rock to ballad now in 2018, the group transitioned to EDM with the addition of DJ Ginjo and rebranding themselves as “TraxX”. A possible reason for previous failures to make TRAX succeed is how their previous styles never fully show the abilities of all members. The glam metal aspect may have helped show Jungmo’s guitar playing abilities but its unique way of singing prevents the mainstream from appreciating Jay’s vocal abilities. While pop-rock and ballad allowed more people to hear Jay’s vocal colour and wide range, it also limited Jungmo’s ability to show his guitar skills. This 2018 comeback is phenomenal and SM should have really promoted “Escape” better - finally with EDM Jay’s godly vocals and Jungmo’s rock guitar skills are unleashed in a way never seen before in K-Pop. While there has been an increase in EDM use in K-Pop this decade, no other K-Pop song has incorporated the genre into K-Pop as well as this song, which also throws in rock. If you love an amazing genre-blender, “Escape” is the song for you!
TOPPDOGG “TOPDOG” (2014)
After BLOCK B’s exit from Stardom Entertainment, the label invested heavily in TOPPDOGG, aiming to make it the Super Junior of Hip-Hop. Honestly, the company should have just marketed TOPPDOGG as the group with the hardest and most diverse rap line in K-Pop because up to this day there is still not a group with as many different and talented rappers. The group had 5 amazing rappers. They also did not lack in vocal talent at all. However, the group never took off and members started to leave to pursue careers elsewhere and the 5 remaining members have rebranded themselves as XENO-T in 2018. “TOPDOG” should have been the song that made TOPPDOGG a household name but somehow it did not. The song was powerful but not a regular powerful boy band track. Sampling Mozart's “Symphony No. 25 in G Minor”, which Mozart wrote when he was only 17, the group hoped to portray the abilities of genius youth and they really did by adding their own electronic and hip-hop flair to the orchestra piece. Even the choreography and MV goes hard and would look futuristic even today with the top-notch CGI. It is definitely one of the best K-Pop tracks of this decade that has yet to be replicated. If you are a fan of dramatic boy band bops, “TOPDOG” is the song for you!
ZE:A “Ghost of the Wind” (2013)
ZE:A, like Nine Muses, never reached their full potential under the management of Star Empire Entertainment, a label which only seems to be able to make 1-3 members of a group into superstars while keeping the whole group itself in nugudom. ZE:A had many amazing tracks but “Ghost of the Wind” is arguably the best of ZE:A and also one of the best K-Pop songs of the decade. The orchestral strings provide the song with a grand and classy atmosphere that also has a sense of urgency. This is complemented well by the theatrical choreography that the members all nailed and the belting of high notes by not one but three members. Yet somehow this song charted poorly when it was promoted and the group is now currently in an indefinite hiatus while members are all pursuing solo careers in different industries from music to even mixed martial arts. If you love an orchestral and grand boy band song, check out “Ghost of the Wind”!
Which K-Pop songs do you think were underrated throughout the decade? Leave your thoughts in the comments section below and let the song sharing begin!!!
#kpop#k-pop#kpop underrated#k-pop underrated#kpop 2010s#k-pop 2010s#kpop 2019#k-pop 2019#rainbow#rania#the seeya#speed#spica#stellar#sunnyhill#trax#traxx#toppdogg#ze:a#rainbow sweet dream#rania just go#the seeya be with you#speed that's my fault#spica russian roulette#stellar crying#sunnyhill midnight circus#traxx escape#topp dogg topdog#ze:a ghost of the wind
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Should Change In Controlling Stake At DSP BlackRock Mutual Fund Worry You?
In May 2018, the US-based BlackRock Inc., the world’s largest asset manager, stated that it would sell its 40% stake in DSP BlackRock Investment Managers Pvt Ltd (the AMC) to its joint venture partner DSP Group.
Subsequently, the Board of Directors of the AMC and Trustee Company, DSP BlackRock Trustee Company Pvt Ltd approved this change in controlling stake on May 7, 2018, and later the capital market regulator, SEBI, too waved the no-objection flag.
However, the investors in various schemes of DSP BlackRock Mutual Fund (now known as DSP Mutual Fund) got a bit worried. The Average Assets Under Management (AAUM) managed by DSP Mutual Fund is over Rs 89,400 crore as per the data from the Association of Mutual Funds in India (AMFI) as on June 30, 2018.
Should investors be worried?
(Image source: pixabay.com)
BlackRock Inc. and the DSP Group have mutually agreed to terminate their joint venture (formed in 2008).
With the above transaction, the DSP Group, a 152-year-old firm and a respected one, headed by Mr Hemendra Kothari, will increase its stake to 100% and will be DSP Investment Managers Pvt Ltd.
Fund sponsors:
The sponsors of the DSP Mutual Fund will now be DSP ADIKO Holdings Pvt Ltd and DSP HMK Holdings Pvt Ltd (collectively referred as “DSP entities”). BlackRock Inc. will cease to be the co-sponsor.
DSP ADIKO Holdings Pvt Ltd and DSP HMK Holdings Pvt Ltd are companies incorporated in 1983 under the Companies Act, 1956 and are also registered with the Reserve Bank of India (RBI) as non-deposit taking Non-Banking Finance Companies. These companies have been functioning as investment companies.
The financial performance of fund sponsors:
The financial performance of the past three years for the aforesaid private limited companies as cited in a communiqué to the unit-holders by the fund houses is as under:
(Source:
Letter to unitholders
)
The DSP entities along with Ms Aditi Kothari Desai and Ms Shuchi Kothari (daughters of Mr Hemendra Kothari) will own 100% of the shares of the AMC. And the DSP entities will own 100% of the shares of the Trustee Company, DSP Trustee Pvt Ltd (formerly known as DSP BlackRock Trustee Company Pvt Ltd.)
Ms Aditi Kothari Desai holds a Bachelor of Science degree in Economics from the Wharton School of the University of Pennsylvania and an MBA from Harvard Business School. Currently, she is the Executive Vice President heading sales and marketing at the AMC, as well as a member of the Executive Committee.
Aditi holds over two decades of experience. She joined Merrill Lynch’s investment banking group in New York in 1998, primarily working on M&A activities in the Financial Institutions Group. Subsequently, Aditi worked in DSP Merrill Lynch as part of the fixed income sales team and later joined DSP BlackRock in 2002 (then DSP Merrill Lynch Fund Managers), working on various initiatives, including establishing an offshore fund for foreign investors.
Ms Shuchi Kothari holds a Bachelor of Science in Economics from the Wharton Business School at the University of Pennsylvania in Philadelphia, USA and an MBA from the Harvard Business School. Shuchi is a passionate wildlife enthusiast and a trustee of Wildlife Conservation Trust, whose Chairman is Mr Hemendra Kothari. She is also the Trustee of Hemendra Kothari Foundation (HKF), the Director of Health & Glow Retailing Pvt Ltd and Foodworld Supermarkets Pvt Ltd.
With the change in controlling stake, the AMC and the trustee company will now be closely held by Mr Hemendra Kothari and his daughters. However, this does not alter the basic characteristics of the schemes (including investment objectives) of the fund house, now known as DSP Mutual Fund.
What should an investor do?
With the exit of BlackRock Inc. the DSP group envisages an exciting phase deeply founded on the focus and core tenets of the DSP Group’s philosophy, namely:
The conviction in India’s growth story
The singular focus on asset management in a scientific, professional, process-driven manner
The unwavering belief in managing investors’ money with the right values and principles. Discipline, ethics, integrity, analytical rigour and risk management are the core pillars of the group, on which the group aims to deliver good investment outcomes for its investors.
Fostering a collaborative environment for smart, innovative, and ambitious people to do their best work
Innate culture and DNA that will drive value for investors.
The letter from the fund house to its unitholders also says, “Our team is aligned in values, thinks big and has set the highest standards, which gives the belief that the DSP Group’s future will be bright.”
So far, a number of schemes of the fund house have generated wealth for investors. Going forward, the DSP Group assures you, the investors, that your interest will always be at the core of its business and it will always maintain a relentless focus on doing what’s best for you.
Yet, if you aren’t comfortable with BlackRock Inc. selling its 40% stake in the joint venture, the fund house has provided an option to exit without any exit load, which can be exercised from August 14, 2018 - to September 12, 2018, until 3:00 p.m.
(Source: pexels.com)
In our view, rushing to sell or redeem your units would not be a prudent idea. A number of schemes of the fund house—across categories— have fared well, adequately compensated investors for the risk taken. Many schemes have displayed consistent performance across market cycles owing to strong investment processes and systems at the fund house and a galaxy of stalwarts at the helm of affairs.
Hence, it would be prudent to ‘wait-and-watch’ for at least around 6 to 12 months and evaluate how the schemes of the fund house perform.
Currently, if you think any of your mutual fund schemes aren’t performing or you are unsure of the health of your mutual fund portfolio, opt for PersonalFN's Mutual Fund Portfolio Review service.
[Read: Unsure When To Review Your Mutual Fund Portfolio? Read This!]
PersonalFN’s SEBI-registered investment advisers, who effectively serve as Financial Guardians, will guide you ethically and in an unbiased manner keeping in mind your age, risk profile, investment objectives, financial goals, and the time horizon before goals befall. You can reach out to PersonalFN on 022-61361200 or e-mail at [email protected]
Happy Investing!
Author: Rounaq Neroy
This post on " Should Change In Controlling Stake At DSP BlackRock Mutual Fund Worry You? " appeared first on "PersonalFN"
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Some information about the recording
Content
We are familiar, once again, it has its place and only over certain account information - the so-called content. If the content is interesting and relevant since the people interesará in use and visited.
How does it work?
After acquires within road transport - a certain number of visitors per day to a room is interesting for the advertising industry. Because they understand that the place is a resource frequently visited, which means that by the attachment of announcements where you can draw attention to the product, but the advertisers may occur, not only with the permission of the owner. Fortunately, this opportunity for a certain wage monetary policy. The basic concept is redirection for visitors to other Web sites whose owner is paying for. Many brands are willing to pay for these users because it is an easy way to provide incentives for the hearing. There are other ways to win, but the first is the first one.
What are the options?
Between the forms of income on the visitors remain popular for a long time the installation of visual advertising. In other words - attractive banners and teasers. In some cases, the transport monetization and with the help of contextual advertising, for example, if in the text of the article, the reader is invited to act, as a result of the semirigid he is on the site of the advertiser. Often for the purchase and registration there, the webmaster of the site that connects to a certain percentage. In addition to working with services for the purchase of the number of visits, programs can work independently with the connected. This is more complicated, but at the same time, cost-effective form of Monet Izar its traffic. Creative, their visitors and a donation, depends on the offer.
Banner and teasers
This method is suitable for principal antes. The banner can pop up over the rail, redirect the visitor to the website, if he wants to close an announcement, etc. In this way, the monetization is suitable if you have relatively few visitors on your website, but you want to make money. This is a concept for the transport standard of money IZAR.
Program of the connected
This is a relationship between the owners of the goods (service) and directly with the seller of this service (you). This means that you as the representative of the sales on the market, the promotion of the goods or service to win someone and due to the fact that the end customer purchases a product or service your spouse. Participate in a program of the connected, she gets money for every action on the part of a user, has its subsidiary connections since your site or group (Twitter, Facebook). This action can be:
The registration on the website.
Drawing of the Bulletin. Order or purchase of goods or services (information and training; for the provision of services, such as accounting or legal services, and of course the shops online). Advertising programática This is an automatic function or algorítmico purchase of advertising. The purchase is not directly from the owner, but with the help of platforms automatically. An advertiser can go, a hearing on the basis of the characteristics of demographic and social preferences and interests. The focalización contains gender, age, income, marital status, presence of children, work and interests. The advertiser can change the conditions of the "keywords". In this case, the public is focused on the theme of the websites. When programming editors use the side platforms offer for all notices of your inventory available. Sep combines are generally on the demand side, causing highly automated platforms for advertising in digital form.
What are the difficulties waiting for you
If you have a website or blog, then you know you need to work normally with tools for the sale of advertising space. The sale of advertising space, a process is very boring and monótono. You probably are often associated with the human factor and its associated error, what is bad for the business world.
We will describe this routine work:
Months test and error to find out which offers more profit. Advanced server configuration for your needs. In the meantime, dynamic market changes constantly, so that makes it almost impossible to keep track of all settings in real time. What does this mean? It is likely that his decisions are insignificant at the time of entry into operation. How does the problem?
However, the SSP le is avoided.
SmartyAds offers a holistic approach to the sale of software, data carriers, by the platform on the side of the offer (SSP) SDK, the charges on the side of the server and the side of the customers. We help our customers to understand the true value of your resources in the global market advertising and get access to the better paid. In the course of time has become the platforms of the page offer in an area as the marketing of these platforms, which is also used for other areas in which each participant in the industry is interested in.
And here they are:
The first and most important is the tender in real-time or RTB. If you know about DSP, then you probably know RTB is. Here all the negotiations and the exchange of data between dealers and owners of illegal. Since the market is very active, sold and bought almost everything in real time. And, of course, each side will maximize the benefits, you need a system of tender or auction. But not all shows are bought by RTB. The advertisers buy also exchange of views on the basis of the cost per share (CPA (cost per share) or cost per lead (CPL (cost per lead). If two or more bids, as the largest payment system maximum, SSP escogerá. This is done with rare, but SSP is scheduled to handle these situations very quickly and efficiently. By the way, if you are particularly SmartyAds, then this guarantees a reduction in the probability of error and an increase in the frequency transformations with minimal effort with an incredibly dynamic market. Automation of the influx of work and sell their resources with just one click SmartyAds in the platform.
Learn more about selling ads on the website to SmartyAds.
In short, our platform offers:
Manage a real enormous through an automated.
The editors use the pillows bids can gain more with each impression.
You can adapt the first price auction minimum price.
Hinzufa¼Gen traffic unlimited - everything under control.
It is not necessary to manually manage the list of advertisers.
Delivery choice categories and blocks of advertisers.
Transparency in advertising.
All information will be in real time.
Full detailed reports;
All you need is a list of all your list easily and SSP everything for you!
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What 2023 Media Trends Reveal About Retail Media
Retail media, which is now the third largest digital channel, is expected to grow by 53.4% year over year (YoY) by the end of 2022. Compared to the 14.9% overall YoY growth in digital advertising spending, retail media is the hottest niche in one of the hottest industries. Consumer goods companies are "all in" with this channel, and 81% of them plan to increase their investments in retail media networks in the next 12 months. Next-generation marketing strategies are being made and used by industries that deal with customers to improve the customer experience in the coming year. Customers can already buy things through several different channels, which gives them a lot of control over how they buy things. To keep up with these customer-focused retail trends, marketing teams will need to be able to use advanced, data-driven marketing analytics to create memorable customer experiences. We know that retail media is always changing if there's one thing we know for sure. More ways to target customers, actionable insights to help you make the most of your advertising budget, and, in the end, more sales. But what are some key trends that advertisers can look out for as we move toward 2023? Let's dive in. What is Retail Marketing? Retail marketing is the strategies, tactics, and projects that retail businesses use to increase brand awareness, sales, and their overall return on investment (ROI). It's a good thing that retail media networks are starting up now. As more people buy things online, retailers are having trouble with the lower profit margins that often come with digital sales. Retailers can make up for the shrinking margins of digital sales by getting more money from retail media networks. Given all of this, it's clear that retail media networks are a big part of the future of retail and one of the most important retail trends of 2023. But the simple retail media networks of today will need to change in eight key ways if they want to keep going. What will be the trends in retail media in 2023? 1. Publisher fragmentation is becoming an even bigger problem for the success of retail media. In the channel, there is already a pretty big group of retailers (retail media publishers). And that isn't stopping. Merkle said in September that every one to two months, a new retail media network is created. Whether they do it themselves like Amazon and Walmart or use aggregator platforms like CitrusAd or Criteo, every online retailer with a large audience sees the retail media channel as a way to make more money and get their manufacturer clients more involved. There are many more, like Instacart, Target, GoPuff, and dozens more. There are only a few or just a few big publishers in other big digital channels like paid search and paid social, so this is a bit of a new challenge. And in programmatic display, almost every website online can be a publisher, so SSPs and DSPs do a good job of bringing everything together. So, how do people who work in retail media deal with all of these different programmes? How do they divide up the money between so many partners? Should they send the next person who is interested in Amazon? Walmart? Best Buy? Target? The list keeps getting longer. Retail media marketers will need to figure out all of these things quickly by 2022. The fragmentation problem is getting out of hand, whether you use a third-party campaign management platform or learn how to use spreadsheets well. Those who can't figure out this complexity will soon be at a big disadvantage compared to those who can. 2. Rapid growth means more oversight and scrutiny (and maybe some extra help) The channel will have a big year in 2023, when the "first era" of retail media may be over. The channel is growing up quickly, which means that the early adopters will have to get smarter if they want to keep getting the high performance they did before the auctions were full. Before that can happen, things like rising ad costs and the fact that publishers are spread out need to be fixed. Retail media investments are going up, which means business leaders will have to pay more attention to them. When a channel is just starting and the budgets are small, bad performance doesn't pose a big risk. But as retail media gets a bigger share of the money spent on marketing each year, the effect on the bottom line will be a bit bigger. On the bright side, more scrutiny from stakeholders could also lead to more investments in expertise and technology to reduce that risk, which could be a good thing. As retail media continues to grow at a rapid pace, more eyes will be on what was once a new channel with little oversight in 2023. Marketers will hopefully get some help and support from above. 3. Amazon Attribution is becoming more popular and more important. With the rise of retail media, brands can finally do what they've been doing offline for decades: market to shoppers inside the store. This is making people talk and think about how best to use digital advertising in the commerce funnel after a pandemic. Up until now, paid channels like paid search and paid social have mostly been used to drive users to websites and apps that the company owns. But now that brands can influence shoppers at the point of purchase with retail media, digital channels are quickly being changed to send interested users to online stores. And because media are always changing, so must the way we measure them. For instance, web analytics and other tools make it easy to track how many people click on ads on owned properties. But when that traffic goes to retail partner sites, marketers can't see how it does, which is important for optimising bids, budgets, and creativity to get the best return on investment (ROI). Brands can get this kind of exposure through Amazon Attribution. Brands of consumer goods have been excited about how this measurement solution can help them grow their programmes. In 2022, we should start to see more brands using it. 4. To succeed, there will need to be more AI and automation. As we've already said in this article, retail media marketers will face new challenges in 2023 if they want to keep getting the same high return on investment (ROI) they've been getting for the last few years. To deal with more competition, more fragmentation, and rising costs, people will need to change the way they think. Technology has long been one of the most important ways for marketers to improve performance and deal with problems. There are many ways in which technology can help marketers. For example, it can automate tasks that people do over and over again, giving them more time to work on more important projects. Computers are also the best way to analyse Big Data and find insights that marketers can use to make smart choices. And for digital marketing, in particular, technology has shown that it can help optimise bids, budgets, and programmes 24 hours a day, 7 days a week. 5. Shopping on Social Media Sites Forbes says that about 15,000 retailers will close their physical stores in 2020. Because of this, many social media platforms have added ways to shop online. For example, Instagram just added the Shop tab, which lets users search for brands, creators, and products and connect with them. On the other hand, many brands are taking advantage of influencer-based marketing by forming sponsored partnerships with popular content creators and affiliate marketing with them. As these digital platforms continue to bring shopping directly to consumers, brands should think about how they can use them to learn more about their target audience and make their products even more tailored to them. 6. Integrating online and offline experiences to make them more personalised Personalization has been a mainstay of retail innovation for most of the last 10 years. This trend is likely to keep going in 2023, as retailers start to look at customer data in a more complete way. Instead of using customer data to send them targeted ads and promotions, retailers will use personalised people-based marketing insights to make shopping easy and streamlined. For consumers who are short on time, this is a big value-add. At a time when many people would rather only shop online, creating a personalised experience based on customer feedback can help fill the gap that a salesperson in-store would normally fill. Retailers should find out what a customer likes, needs, and value so they can give them the best experiences. So, when a customer visits your online storefront, they should see personalised suggestions based on what they've been looking for and what they've bought in the past, both online and off. Marketers need to think about how these efforts will be measured because attribution models like media mix modelling and multi-touch attribution can't give the detailed, cross-channel insights that are needed to make smart decisions about future media planning. Instead, they should think about using marketing technology to get a more complete, unified measurement of marketing. The COVID-19 pandemic has also made it clear that people need to be able to change. Many marketers are having trouble keeping up because their historical data and usual performance benchmarks no longer work. After 2022, it will be important to have flexible marketing analytics to keep up with sudden changes in the market. Marketers should think about whether or not their current solutions can take this into account. What do you need to do to get ahead? 1. Make the shopping experience better. The best ways to market to shoppers improve the shopping experience. Customers benefit from a well-placed end-cap that shows off a new product or a mannequin dressed in a stylish outfit. But it's not helpful for shoppers to be flooded with irrelevant search results that were bought by the advertiser who bid the most. Retail media networks need to find a good balance between free and paid media and make sure that the paid media is very relevant to what the shopper is trying to do at the moment. 2. Don't just act as a tax. Most brands don't see a good return on their advertising dollars from retail media networks other than Amazon. Not because it's a good investment for the brand, but because retailers make it a requirement of doing business with them (like a tax). Retail media networks need to become the best place for brand marketers to put their money if they want to grow and stay in business. 3. Show that the money spent on ads is paying off (ROAS). Just looking at how many shoppers see a sponsored ad and then buy the product right away from a retailer's website doesn't show that those ad dollars have a high rate of return. Instead, brands need to see how these ads affect in-store purchases and longer decision-making processes to know how valuable their ads are. Retailers, like Amazon Marketing Cloud, are just starting to build these metrics for advertisers. Retailers don't usually give these kinds of insights in a timely or automated way. In the end, retailers need to show that retail media networks are worth the higher prices they want. 4. Use the people who are in the store. There aren't enough ad impressions on e-commerce sites from sponsored search results for retailers to reach their growth goals. Online shopping accounts for only 13.2% of all retail sales in the US. Retail media networks need to reach the huge number of people who shop in physical stores if they want to grow. Retail media networks have to sell ad space on mobile phones, digital screens in stores, and e-commerce sites. 5. Reach people outside of your site. Retailers can use their first-party data to help brands better target digital ads across the web, not just for the people who visit their website. A good early example of this is the partnership between Walmart Connect and Trade Desk. Retailers need to show that this data is better than third-party data that is easy to get. 6 . Be more dynamic. Advertisers need to be able to dynamically target audiences and serve ads with content that is generated on the fly. Some of the best digital advertising platforms, like Meta and Google, let you make changes in real time. Artificial intelligence algorithms run thousands of marketing tests, changing the ads' content and who they're aimed at in real-time to find the best one quickly. The level of optimization for retail media networks needs to be the same. Conclusion If these predicted changes to retail media networks come true, retailers will have a real chance to be at the top of consumer marketing for a long time to come. Retail media networks can change the unit economics of the retail industry and the way brands and retailers do business for good. There's no doubt that 2023 will be a busy year for brands, agencies, and advertisers in retail media. More choices and better abilities will give you more chances to increase sales, but will you be able to handle the added complexity? Read the full article
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Casio PX-S1100 | Digital Piano Review & Unboxing | Casio PX-S1000 Improved
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The Casio PX-S1000 was a groundbreaking instrument with an incredibly small, highly portable battery-operated frame that still managed to deliver great sound and a weighted 88-key action.
Today, we’re going to be unboxing and taking a look at its brand new Privia digital piano replacement - the Casio PX-S1100. The PX-S3000 also received an update with the new PX-S3100 so we’ll be looking forward to exploring that instrument as well.
The Casio Privia PX-S1000 was a massive seller, especially during the lockdowns of 2020 and 2021 when it was impossible to keep in stock, so we’re very excited to see what Casio has in store for us with the new PX-S1100.
Casio PX-S1100 - Background
The PX-S1100 had been on the market for at least four or five months in different parts of the world, but because of supply chain issues, and the fact that the minute that we made it available for presale all of our allotted units got preordered, it took a while before we had a unit we could open up and check out.
When we first got the news reports about this new model, the main emphasis in the marketing literature had to do with a speaker system redesign, so that’s one of the things we’re most interested in exploring.
They’ve also included a free Bluetooth adapter that gives the PX-S1100 both Bluetooth MIDI and Audio, and this is a nice upgrade as the PX-S1000 had Bluetooth Audio but oddly, no wireless MIDI.
Let’s get this opened up and see what it’s all about.
First Impressions - PX-S1000 Comparisons
With the PX-S1100 out of the box and plastic wrap, we’ve got it hooked up and wirelessly connected to a smartphone with Casio’s Chordana Play app fired up.
And there are a few things we can tell you right off the bat. With the S1000, the sound was somewhat underwhelming when you didn't have the Hall Simulator or any of the Surround Sound modes engaged. With the S1100 even without any of those special modes engaged, the acoustic piano sound is very enjoyable to play.
Improved Speakers
As we mentioned above, Casio has indicated that the speaker box configuration has been changed. Specifically, they’ve changed the material that the tweeters are made of, and they’ve also managed to improve the bass response. This is immediately coming through with the noticeably improved default grand piano tone without any other sound modes on.
The output power remains the same with a pair of 8-watt amplifiers for a total of 16 watts of power. This is really impressive given that the S1100 is such a portable digital piano.
In fact, the overall sound quality paired with the slimness and lightness of the frame is really what makes the S1100 a complete standout in the market.
The S1100 is often compared to the Roland FP-10, but the onboard speaker performance here totally outdoes the FP-10. Of course, the appeal of the FP10 is the action, but the Roland FP-30X costs quite a bit more than the S1100 if you’re looking for really good speaker performance.
Bluetooth Functionality
As we also mentioned above, the expanded Bluetooth functionality is very nice to see. Now, they didn’t actually change the circuitry and instead are simply including a Bluetooth dongle in the box at no extra charge.
Simply plug it in and your S1100 is now Bluetooth MIDI and Audio enabled.
Multi-Dimensional Morphing AiR Sound Source
Casio has brought back the same version of the AiR sound source and its strong 192 notes of polyphony. This is easily one of the best sound engines available in the class, and the new speaker array is definitely able to coax more out of it.
Chordana Play App
Get your S1100 linked up with the smart device of your choice and via the Chordana Play App, you’re given the ability to remotely control the S1100.
Inside the app, you can edit the DSP effects, Surround Mode and the Hall Simulator which is your reverb engine, consisting of settings like Opera Hall, Berlin Hall and British Stadium.
You’ll mostly be applying these effects and settings to acoustic piano sounds, and you’re also given an Acoustic Simulator with access to parameters like string resonance, damper resonance, damper noise, and key on and key off action. This is really well pulled off and gives the user a lot of control, plus, you can also save your setting preferences for quick recall later.
Other Sounds
In total, the Casio PX-S1100 has 18 built-in preset sounds. There’s a handful of built-in acoustic piano sounds, but the default grand piano sound is definitely the best of the bunch.
From there we get into the electric piano, and Casio always does a great job with their Fender Rhodes patches. Organs, strings, and a couple of other tones complete the offering which is very strong overall.
Features/Functions
In terms of functionality, the PX-S1100 is definitely on the basic side. The PX-S3100 is available for a few hundred dollars more and greatly expands the functionality on top of the same basic framework if you’re looking for something more arranger. Alternatively, the less expensive CDP-S350 is also quite feature-heavy and costs less than the S1100, though the piano experience is not as authentic.
On the PX-S1100 we have a basic MIDI and Audio recorder, but it’s actually not bad. You can record straight to a USB key and isolate right or left-hand parts for playback. These days onboard MIDI recorders are kind of an antique function for most people because even MIDI recorder apps available in iOS and Android app stores for free are better equipped.
There are 60 built-in songs preloaded here with the option to add 10 of your own. From a feature standpoint, the PX-S1100 isn’t really doing anything different from the PX-S1000.
Digital Piano Action
Casio has brought back the Smart Scaled Hammer Action Keyboard II which was first introduced in the PX-S1000. This action has received quite a bit of dialogue and discussion online for a variety of reasons.
One point of conversation has been the keytops as they are highly textured, as opposed to say the GHS action featured in the Yamaha P-125 and P-45. People who are prone to sweaty hands when playing will love this action because this texture is very absorptive.
The weighted keys are not particularly heavy, nor are they light, sitting comfortably somewhere in the middle, fairly comparable with the weighting of the Kawai RHCII action used in the ES110 and soon-to-be ES120.
For a piano as slim as this and that you can operate with battery power (8X AA batteries), this is a really solid action overall, even if there are some valid criticisms.
What are those criticisms? Mainly, they center around the fact that given how compact this action is, the pivot length is quite short. Casio made a conscious effort to produce a super compact action to accommodate the incredibly slim case.
The result is that the keys are not evenly weighted from the top to the bottom. Now, this isn’t really going to be a factor for beginner or even most intermediate players, but it is certainly noticeable to more advanced players and those with ample acoustic piano experience.
So, we would let that be the barometer, if you’ve got lots of acoustic piano experience, perhaps this action wouldn’t be ideal. If you’re a beginner or hobbyist you shouldn’t have any issues.
Connectivity + Odds & Ends
The PX-S1100 is very solid from a connectivity point. In addition to the Bluetooth functionality we’ve already covered, the other great feature when considering the price point is the inclusion of discreet 1/4” line outs (L/MONO, R). This critical connector port makes the S1100 a totally viable instrument for gigging.
The S1100 is also equipped with a stereo mini line in, USB Type A and B, dual headphone jacks, a port for a single damper pedal (comes with a basic switch sustain pedal), a port for the optional 3-pedal unit and of course a spot for a cabled power supply.
A totally useable music stand ships with the S1100, and it’s also available in three finishes - Black, White and even a stylish Red.
Standards like a metronome, transpose, and split are all of course covered as well.
Closing Thoughts
Thanks very much for joining us for our first look at the new Casio PX-S1100. Ultimately, while it looks like the S1100 won’t be a radical leap forward from its predecessor, it meaningfully improves on the sound and adds Bluetooth MIDI while keeping everything that made the PX-S1000 one of the best digital pianos in the class.
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