When I decided to leave the certainty of multiple steady paychecks to start a new company, everybody I briefed thought there was no possible way it could succeed, and that gave me the confidence that I’d have no competition. The rest, as they say is history. But since that time, I have also come to appreciate that sometimes it is more valuable to have at least some competition proving that the business idea has at least some merit. Some percentage of a provable market is worth more than 100% of a market that simply does not exist. Enter GrooveBox Studios.
GrooveBox Studios was born of a frustration that is nearly universal among all artists I’ve encountered: bands spend too much of their own money on projects and tours that generally enrich everybody else before the band earns a dollar. Which is not sustainable. The founders of GrooveBox Studios hit the business reset button and came up with a model that is really quite analogous to what we, too derived: the co-production model. For starters, both GrooveBox and The Miraverse® promote the idea that instead of being an up-front cost that the artist must bear, the recording process is something that delivers cash and profit directly to the artist, up-front. (more…)
Ben Folds may claim “You Don’t Know Me”, but actually the truth is he doesn’t…know me…yet.
And yet, it’s like he does.
How cool is this? A bunch of recording engineers sharing their works in progress so that they can learn and improve their craft. (And maybe show off a little, too.) This is one example of an organic version of what I hope to do when permission to share is granted. As I explain in the thread:
While the Manifold Recording will certainly cater to high-end folks that want to lock it out and keep all the mixes and masters to themselves (until they release commercially), I’m also hoping that there are artists, engineers, and co-producers who are as interested in really developing not just an understanding of equipment and techniques, but creating works that are interesting and rewarding to others who try their hands at mixing and production. I detail that somewhat here the PROGRAMS section of the Manifold Recording website.
One particular technical challenge I have to address is the best way to tag all the data so that equipment chains can be easily annotated in the recording process and can be easily searched in a large (100TB) online archive. As you can see from the thread, there are no standards as to the level of detail or the integrity of the data of these community-led efforts. One idea is to use RFID to tag basically every piece of gear that can move (plus those that cannot) and then scan the chain from source to console and then attach each signal chain’s scan data to the respective track. This will ensure that every device is scanned according to its canonical identifier.
Will this catch on? I certainly hope so!