Visual arts have always been a personal interest, and even as a musician I have always associated images with music. When Lennie Moore brought to his SFCM class a member of the Scary Cow film collaborative in 2016, it gave me an opportunity to connect my musical composition skills to filmmakers. This resulted in my developing opportunities to score and record music for a half dozen films. (Some are viewable online.)

In 2022 I began filming my own story — what I call “Coming Home to Music” — after 50 years in Computer Science. As a teen, I was a pretty good pianist, and when I went to college I had made a choice between studying engineering (and then computer science) or enrolling in the American Conservatory of Music to study piano performance. I chose computers. Then in 2015 I came back to music full time at the San Francisco Conservatory of Music. In 2022 I decided to commit this story to film, and as luck would have it, found three other SFCM alumni who had stories of a similar trajectory — and were really perceptive and willing to tell their stories. The four stories are now woven into one single feature film Play It Again — Coming Home to Music and How It Changed My Life. (online) It’s great how the stories dovetail and how each of my co-stars is able to tell their story in ways that are clear and deeply insightful.

Both film and music businesses are so completely disrupted that it’s a constantly changing landscape. Streamed music pays almost nothing at all (roughly a sixth of a cent per play) and only the megastars make an income on streaming. And mostly the money is in performance, not recording. In film, blockbusters are the big news and tiny independent films pretty much never get seen. So the trick here is to break the mold and find other ways of paying for a film, not just ticket sales. Workin’ on that.

If you’d like a peek behind the scenes at a music recording session, take a look at this 2023 short I produced. Making the Music of Happy Goat (online). We filmed this in 2022 and much of it is included in Play It Again.

Now for a preview of 2024, we will be spending much of our time at Ensō Village in Healdsburg, where a community based on Zen and Quaker values is being formed. Over 200 living units and many interesting people with fascinating stories. Next year’s report will certainly cover a lot of that ground. (Current online sources of information are limited, and I recommend you wait for my future report.) The people are the attraction.

The post 2023 year-end appeared first on Sky's Blog.

From frost on rooftops out our windows (San Francisco – frost?) to the vivid red maple blooming in front of our home, we continue to appreciate life and beauty!

Kathryn: I am still leading the Feldenkrais program for adults with severe neuro-motor challenges at Bay Area Ability Now and also co-leading a weekly meditation practice group for Tergar International on Sunday mornings, with my colleague Cristian Lotito—something I’ve done weekly since April 2020, and monthly in person before that. The photo shows me with Cristian and Mingyur Rinpoche, Tergar’s Founding Teacher.

I was drawn to the work of Roshi Joan Halifax (photo left) several years ago, and I am delighted to be able to study with her “in person” on zoom. (You can see my small face on the zoom insert above her head.)

Jim/Sky: It’s been mostly-sunny days this week on the ski slopes near Lake Tahoe, and we’re happy that we’re both skiing — at least on the fair-weather days. (Temp 36°F day and 18°F night)

Despite a ski injury last January, Kathryn has continued skiing and loves it — as she has for many years. These photos of us were taken yesterday!

 

Jim/Sky: Kathryn also got to visit with her sister Susan Amber Gordon on the East Coast, despite our lessened eagerness to travel since the start of the pandemic.

 

---

Play It Again

Jim/Sky: In 2022 I started producing my feature-length film Play It Again about “Coming home to music.” I’m personally an extreme example of this. For me the coming back started in 2014, then accelerated to full tilt in 2015-2016 at The San Francisco Conservatory of Music, where I completed a full-time post-graduate year in Technology and Applied Composition. At that time, I had already been thinking about making a film about the experience, but there just wasn’t time to complete the coursework and do a film at the same time. So in February, 2022 I finally started filming. An intermediate full-length cut of the film is completed now (December, 2022) and with the filming of one more scene in January, we will have it all “in the can.”

When I went back to music in 2015 I said that “software had caught up with us” and was finally enabling a new breed of composer and compositional process — with sampled instruments it had become possible to compose and play back in real time at good quality — a new cyclical compositional process much like software development. Well by 2022 it was obvious that iPhone hardware and software were advanced enough that “filming” could be similarly streamlined and available to far more would-be producers. So I became one of those. The film is almost entirely shot on iPhone with wireless sound recording right into the camera as well. Sign up for more film info!

Play It Again — Coming home to music and how it changed my life; filmed in 2022, and scheduled for release in February, 2023. New audio albums are in the works for Q1:2023 augmenting the existing albums. Amateur Music Network; I’m on the board of directors of this org that promotes “the love of music” including upcoming workshops and a library of video of many past workshops. Joined the board of the Ross McKee Foundation, which promotes piano performance. We had a private showing and panel discussion of The Third Harmony, a film I scored in 2020. CDs of my albums are available now via special order. Just ask me.

My film will be available in February, 2023, and if you visit the Play It Again web site, you can sign up there for email notification.

(The space above is where the intro video should appear. It may be empty if you have opted out of ‘statistics’ cookies. You may play the introductory video on Vimeo)

 

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SFWEM.NET is the San Francisco Wireless Emergency Net, which is a mesh network that’s being built out by amateur radio operators with the intention of being a communications backup in time of emergency — when phone and data networks may be locally overwhelmed or not functional. Beside that, however, it’s an interesting experiment for amateur radio operators seeking to understand the benefits and limitations of “wi-fi” as a long-distance tool.The wi-fi that most people know is range-limited and often flakey.  SFWEM works with directional antennas that have far greater range, and with higher radio power (permitted to amateur radio operators) on a band of radio frequencies not available for public use. So rather than being stuck with a 50-foot maximum range, we can get good connections over distances of 20+ miles. The connections are still line-of-sight, meaning that one antenna must be able to literally “see” the antenna on the other end that it’s connecting to. Any buildings, trees or hills in between the two will reduce or eliminate the signals.

So the idea is to create a mesh or network of interconnected stations to cover the space — in this case the northern end of San Francisco Bay, and soon the southern end of Marin County — with stations that automatically relay communications from one node of the mesh to the next. And as long as even one mesh node has a connection to the Internet, all of the other interconnected mesh nodes can reach the Internet (and each other).

My “interconnection” consists of the packet radio station, which is linked to the amateur packet radio network in the area (in my case to KE6JJJ in Bernal Heights, and to NøARY in the South Bay). And two nodes on the SFWEM mesh. The link between the two is software. A JNOS software system running on a Raspberry Pi4 computer. JNOS can send and receive messages on the packet side, and can send, forward and receive messages using regular Internet-based email.

The whole setup is currently solar powered. Summer in San Francisco is cold, and sometimes foggy, but there are enough sunny days that the batteries can make it. (Winter, with different sun angles, is a bit more challenging.) Currently (May 2021) I’m testing to determine how long the solar powered system can supply both the packet and the SFWEM systems, as well as solving some issues with how many different voltages are required for all of this equipment, and how efficient the whole power supply thing can be.

Lots more to say; enough for now.

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My first two films were Indulgence (Leo Maselli) and The Third Harmony (Michael Nagler).

For those of you not familiar with how a composer creates music for a film, I thought I’d go thru how Kip and I collaborated to put music to this story.

Scoring the Film — How we Started

Kip and I had a chat about music for her film months before anything was shot. Late in 2020, the shots were all “in the can“ (with COVID protocols on the set) and Kip gave me an early rough cut of the then 24-minute film. The editor, Charles Anderson, had done an excellent job cutting and assembling the scenes, and honestly there was very little that changed in terms of scene lengths between then and the final version. At this early stage the final colors weren’t set — the film looked somewhat grayish — and the dialog was basically unedited, requiring selection from among multiple microphones, and sometimes a bit of sonic cleaning up. But the sequence of shots was close to final in this case, and the story line was clear. (Not every filmmaker works this way.)

At any given time I have dozens of songs or musical ideas just waiting to be used in films. So I pointed Kip at my online music bin and said “Listen to everything — at least the first 20 seconds of each — and then let me know what pieces of music you feel might work in the film. Based on her suggestions, I then refined (and added) what I thought might work, but mostly we worked from her selections.

Interestingly, a large percentage of what she liked had already been used in films. This is actually no problem, because it helps me understand what she was reacting to.

I then took a set of about eight of these and positioned them within the rough-cut film, so we could review the film with dialog and with my suggested music.

Making the Music Fit the Film

My digital audio workstation [DAW] is the Logic Pro X app (from Apple), which allows me to view the film second by second, and directly position the music against each cue in the film.

In the screen shot above, the film runs left to right on the timeline, and below it are the various pieces of music looking like a colorful waterfall. Each is positioned where it’s going to go time wise in the film. The goldenrod colored bars are the sound effects and the dialog of the film, which run its entire length.

Wherever music needed to be stretched, I just wrote more music — basically I had all of the instruments available to me there in real time and I just write and tailored the music to each scene. A couple of pieces of music I adapted to be shorter. As composer, of course, I have complete flexibility to do anything I want to the music, and I do not have to worry about whether Beethoven or Mozart would complain. I just make whatever changes I wish to make.

The 25-minute film ended up having 10 music cues by the time we finished. Very little silence, and honestly almost wall-to-wall music. In some films I add “designed sound” to scenes, but in this one we remained melodic and instrumental instead.

The “Alexa” Segments

Most of the music in the film is “movie music” — the kind you’re used to from many films. But, also for this film we needed three very short (10-second) pieces of diegetic music. Diegetic means it’s part of the action in the scene. In this case our heroine asks Alexa to play some music. We needed 80’s pop, classical, and jazz. Rather than license from someone, I wrote the jazz, asked another SFCM composer (David Tippie) to write an 80’s pop soundalike, and paraphrased Erik Satie for the classical (out of copyright) segments.

So What’s New?

This is the first time any of this music has appeared in any film or album.

Only one piece of music was written specifically for this film. Everything else was waiting for the right time and the right film. All of them were written in the last 3 years.

Once the entire arc of the music for the film was completed, and after a small number of revision rounds, we were set to go. For this film, I provided the sound mixer with three “stems.” These are audio files that run the entire length of the film; in parallel; and the volume of each can be adjusted based on what’s needed at any instant. In this case, I provided a finished “mix” with all of the instruments at the volumes I felt were best at every second in the film; but I also provided a full-length file consisting of the music without any drums; and finally a full-length file with only the drums. It’s the job of the film’s sound mixer to use these along with dialog and sound effects to make the finished audio for the film. I get to listen to it and comment, but I don’t play a direct role in its construction once I’ve turned over the stems.

The Trailer

The one original “song” was the most emotive and wrought-up of the group, and it fit the mood of the trailer perfectly. (Charles Anderson, the film’s editor, did a terrific job piecing together that trailer) The music was actually significantly longer than the trailer, so much as I did for the film, I placed the trailer visual in my DAW and then stripped and recomposed to get the effect I wanted for the trailer. I could literally work down to the precise frame in the video. The drummer in the trailer actually is a different drummer than was used in the film…for emphasis…I love those huge taiko drums and so that’s what I wanted at the end of the trailer. In the film itself there’s some quasi-taiko drumming, but not quite that much.

The Album

After the film was fully locked and music was mixed, I took the music itself, which spanned the 25 minutes of the film, and created a new project in my DAW just for the audio. The film had scenes with no music, so I expanded the music to be end-to-end 25 minutes, by adding and extending some of the selections. I also created a broader sonic spectrum and changed some of the instruments. Music sounds different when standing on its own (that is, when “supporting” action and dialog). This somewhat richer version of the soundtrack then becomes the Original Motion Picture Soundtrack album. This goes into the queue at CDBaby for distribution to all of the streaming services. Once it’s distributed, it can be played or downloaded online. SkyHi Digital has a page with links to the album on the various streams.

The interaction with the film’s producer, and the film and sound editors, was very good. Feedback usually makes huge improvements. It’s good to have many ears listening to the music when it’s being refined. Collaboration works wonders.

The post I’m Fine appeared first on Sky's Blog.

We (the team here) have been struggling with the color on Logitech C920 and C922 webcams recently. We’re preparing for a big international conference in November when the cameras will be in around-the-clock use. Initially each camera had a nice color balance, but after a couple of weeks each of them acquired an “underwater” blueish cast, and things that should have appeared white in the picture turned a spooky underwater blue!

Some of the blueness is due to where we have located our webcams — they’re in rooms with good outdoor light, but no direct sunlight, so the ambient lighting is saturated with blue skylight. But, beyond that, the cameras over-emphasized the blue. They were trying to auto-correct, but slewed way too far blue. Instead of compensating for our blue light, they were over-emphasizing it. Today we solved the problem!

The Camera Settings App

Logitech provides a Camera Settings app (for Mac OS in our case) that you can install to modify the way the camera sees things. (Download from > logitech.com/support/C930c ) Download it and install it on the computer, then connect your camera and fix its settings.

The app exposes five settings under its Advanced tab (see screenshot). The adjustment we needed was to Auto white balance. Turning it off (the little toggle switch), and then adjusting the color temperature (the xxxxK value) fixed our cameras so they produce a pleasing color output under various light conditions. That’s pretty much it.

In our case, I had to turn it all the way to 6500K to get a pleasing effect in daytime lighting conditions. At night, with incandescent (or LED adjusted to incandescent color temperatures) we have to modify it, but honestly it’s so easy to use the Camera Settings app that we can set it once for each online session and let it run.

The other adjustments do what you’d expect, and we have not needed to fiddle with them, as our problem was just the blueish cast — which is now gone!

C920 users

This worked for both our Logitech C920 and our C930 cameras, even though the C920 support page doesn’t give you a path to download this software, and even though Logitech does not list the C920 as a supported camera for this app. So if you’re using a C920, be sure to go to the support page for the C930 to download this software. It won’t let you pan or zoom (features of the C930), but you can fix the color.)

Logitech Brio

Postscript (Dec 7, 2020): We eventually ended up with a Logitech Brio webcam that has maintained its (proper) color balance for weeks. It can also be configured by the Camera Settings app, but it’s a far better camera in the first place.

The post Got the Logitech C920/C922 blues? appeared first on Sky's Blog.

Very techie here… For a few months I’ve been operating a packet radio station on a 2-meter radio frequency here in the San Francisco Bay Area. I explored what it would take to make this a full “BBS” (like an online “forum”), and then backed off and let it just hang around n this frequency listening to the other (mostly BBS) stations. A few days ago, I got interested in graphing the data to better understand what stations were using the frequency and when.

The chart is made by this process:

• JNOS (the software that runs the packet radio station) logs all data it hears on the radio;
• A Python script analyzes this log file, keeping track of what stations were heard in each hour;
• The Python creates javascript data in a form acceptable to Google Charts;
• The javascript is transferred to a web server;
• PHP code reads the javascript and inserts it in an HTML page;
• Google Charts javascript fashions the data into the interactive chart.

A “cron” job carries out this process once each hour to keep the chart data current. Because each data bucket spans a whole hour, there’s no need to update more than once an hour.

The post Visualizing packet traffic appeared first on Sky's Blog.

When you’re preparing for an online interview (Zoom, Skype), there are a few things you can do to really help it be a truly professional shoot. These tips are for both the interviewer and the interviewee. And they are the tips I suggest to interviewees on the Exploring Leadership podcast.

°    Pick a quiet room. Any conversations around you, open windows with conversations, or traffic noise, will be distracting. (Traffic particularly tends to create “rumble” while you’re recording.)

°   Use earbuds or a headset that contains a microphone, if possible. This brings the mic closer to your mouth and yields better sound than using your computer’s microphone. Earbuds or earphones also reduce the possibility of echo or feedback.

°   If you must use the computer mic, then remember not to type or fiddle on the keyboard during the shoot, and try not to rustle papers or tap the table, as the microphone will pick up these sounds.

°    Avoid echos and reverberation by picking a room with very little echo. Carpets reduce echos. Drapes or window blinds reduce echos. Partitions reduce echos.

°    Find a comfortable chair (without a high back) and position yourself against a flat, light colored, solid wall, facing the computer straight on. You should be about 5 feet (just under 2 meters) from the camera. Looking at the zoom video preview, center yourself and make your head take up about ½ the vertical space in the picture. Eliminate sharp lined objects that might be behind you — they can be distracting — things like kitchen clutter, bookshelves, or windows looking out on passersby.

°    If possible, have light coming at your face from the front. A table lamp works. A window opposite you works. A window behind you is likely to be terrible. Basically you want the background and your face to have the same amount of light, so you may have to experiment.

°    Adjust the camera angle so it is looking “straight” at you. i.e. Not like it’s on your desk and you’re peering down into a well. If necessary, put your laptop computer up on a few books to raise it. It should be approximately at the level of your mouth or eyes, not looking up like a bug on the rug.

°    If you’re “filming” with a phone or tablet, it’s even more important to set the device up on a pile of books, or propped against something, to hold it steady. Do not attempt to shoot hand-held unless you wish to induce nausea!

Ready to go!

The post Tips for Recording Online Interviews and Conversations appeared first on Sky's Blog.

In amateur radio circles there’s much use of digital modes to exchange information. (In olden days it was almost exclusively limited to “chatting” on the air.) At least in the circles I’m running in these days this is true. “Packet radio” involves putting a computer on the front end, which then controls the radio, connecting to other packet radio stations and transferring messages digitally. At the lowest level the software has a command-line interface (accessed via radio), and at its highest level, it is basically supporting programs that exchange email (again, by radio, not thru the Internet).

Later articles:
° Packet and SFWEM Interconnects
° Visualizing Packet Traffic

My packet radio station operates on 145.07 or 145.09 mHz (also known as “2 meters” and mail is exchanged by “connecting to” AA6AX-1 via that radio. If you need to email me about this, please use the email address packet@aa6ax.us.

The station uses a Raspberry Pi 4 as the computer, and I use VNC to view the virtual “screen” of the RasPi and interact with the system. The radio is a cheap 2-meter transceiver, and a circuit board in a box called a “TNC” attaches to the computer and controls the radio. The photo shows the RasPi (about 4 inches wide) on top of the slightly-larger TNC. Plug it all into electrical power, add a radio with an antenna, and it’s on the air.

Read more about this packet radio setup in the PDF file.

(More aa6ax info.)

This diagram shows the components of the packet station. Most notable are the Raspberry Pi computer (the “RasPi”), with the reddish TNC-Pi on the top, connecting it to the radio. The radio has an antenna, and is connected to a power source.

The computer itself is on the local network, and the VNC software lets me view its “screen” on my own computer, and use my mouse and keyboard as if they were directly connected to the RasPi computer. It’s kind of a virtual computer.

The post Packet Radio Notes appeared first on Sky's Blog.

It has taken all those years for me to get around to not only making video but setting things to my own music. And here are the results.

(To play all four videos, use this playlist. Otherwise play individual videos below.)

For the May 2019 TAC concert I had developed a four-part suite entitled Magic into a piece for piano, violin, oboe, clarinet and cello. Then I remembered my good friend Jeff Goldsmith had a few years ago been creating nature video loops — video of forest, water, fields, flowers, that just kind of plays peacefully on the screen. Like a virtual fireplace or virtual fishbowl. And thought “Why not repurpose some of those as backgrounds for this music?” So I did.

The post Music Video appeared first on Sky's Blog.

The team completed the shooting of Indulgence early in 2019 (after postponement due to too much smoke in the air late in 2018). This week I saw the first rough cut of the film. I already wrote most of the music for Indulgence, and the next task is to cut-to-fit and add incidental music for this segment.

As part of the promotion and documentation of how we made the film, Erik Parker interviewed me about the creation of the music for Indulgence. Without comment, here’s that interview that he and cameraman Jason Fassler captured.

A Sonic Indulgence from Erik C. Parker on Vimeo.

The post A Sonic Indulgence appeared first on Sky's Blog.

Does that sound odd? First of all, what’s a phone for if you don’t answer it? But second, who answers the phone any more, given the overwhelming volume of spam calls we receive every day?

You’re probably thinking “Why is he even asking this? When was the last time I answered a phone call?”

Why do I say I had to answer my phone? Well, I had called a US government agency in order to set up an appointment at that government office. First, I waited on hold for 50 minutes trying to reach them. They have no “local” phone number here in San Francisco, only a big national call center. So to make a local appointment, you have to reach the call center, which means waiting 50 minutes. Then talking with them, they agreed it made the best sense to go to the local office. “We’ll give you a callback to schedule that appointment.” Huh? I wait for 50 minutes and then they can’t make an appointment, they have to call me back?

“So what’s the best time to reach you?” “Well,” I answer, “Daytime. Nighttime. Anytime. I don’t care.” And they respond “We can’t do that. We need a one-hour window. We will attempt to call you during that one hour window some time during the next five days.” In other words, they pick a single hour during which I have to answer my phone for possibly five days in a row. Well how hard would it be for them to just call me whenever they have an agent available? Like maybe on Tuesday. Nope. Instead they have to use one single hour of the day, but any time in the next five days.

(This is worse than waiting for the cable company to fix my equipment. At least they tell me what day they’ll be here.)

OK, I thought that was bade enough, but… they won’t tell me what number they will call from. They’ll just call from some random phone number. Meaning that during my availability times I have to answer every call that comes in — something I never do because of the volume of spam calls.

So I tried it because I had no alternative. During my first day of availability, during my “best time to call me hour,” I got a call in the first 4 minutes. Spam. Of course. Then after 20 minutes, another. Spam again. And so forth. During the four hours I answered calls that day, I got a dozen calls. All spam. Yes 12 spam calls. No real people at all.

It occurred to me that actually I hardly ever answer my phone any more unless the caller is in my address book. And that in trying to schedule things, I actually never call people on my phone. Instead I email them or “text message” them. And, in fact, email is increasingly going unanswered by my friends. The only way to really reach someone is to message them. I know this has happened with the younger generation, but now I find it extending up into people in their 70s.

So my question is — and you can just think about this if you want to — no need to really answer: 1. Do you still answer your phone (if the caller isn’t in your address book); 2. When did you stop?

If you do answer, I probably won’t answer your call. Hahahah. Just think about how your own behavior has changed.

The post When did you stop answering your phone? appeared first on Sky's Blog.

“Inspiration is for amateurs. The rest of us just show up and get to work.” — Chuck Close

I refer to (music) composition as “design and engineering” which reflects my experience that ideas are the easy part, but the hard part is then designing and building the product. I say “product” here quite intentionally. As an engineer, I spent many years building software products. In software, the idea may be subtle and tricky, but it’s still the easy part compared to the design and then the hard work of building — which is where the real time is spent.

And to a great extent, if you’ve studied and trained and understand how to use the tools available to you, and if you just show up and start working on your product, you usually (already) have what you need to accomplish your goal.

So for years I did this in software. And then in 2015 I started doing it in music.

Yeah, yeah, sometimes I get inspired and I write and write furiously late into the night. The endorphins tell me it was a great work. And frequently I then put aside my product, take a rest, then pick it up later on and yeegads(!) it sounds terrible to me. (Inspiration can be delusional.) And then there’s just lots more work to do. But that work is required to achieve the payoff. And if I do the work, the piece becomes so much better!

In my days in software I’d have people pitch me software ideas many times a year. My reaction was frequently, “Well, that’s a nice idea, but have you written the program?” I guess I was a bit brash, but many times I’d continue “Your idea is nice, but it probably represents less than 10% of a product, which requires hundreds if not thousands of hours of engineering.”

Another thing I’m fond of saying is “When you have a novel idea, you can bet that 8,000 people got up this morning and had that same idea; then 80 of them did something about it, like pulling together a team; then 8 of them will bring your product to market within the same two weeks.” That’s kind of hard for an inspired ideas person to hear, but it represents the harsh truth of the world of commercial software. Ideas come from lots of experience, and from creative responses, but they’re seldom completely unique.

Chuck Close is quoted in Inside the Painter’s Studio, a book by Joe Fig. A review of this book goes on to say “Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details.”

Those of us who do this kind of design and engineering, understand and appreciate the fundamental truth of this statement.

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There’s a T.I. Speak-&-Spell device from 1980. And among the buried treasure — actual physical copies of many of our DesignWare products for personal computers in the 1980s. I also found a box of goodies from a company I helped form that went bust in 1997. And another box of desk goodies from Knowledge Universe Interactive Studio, 1999. And two boxes of Leapfrog toys from year 2000. Most of these still function.

But also, in cleaning that space today, I found this on the floor. From historical documents it appears to be vintage 1980-1985. I remember the old punched-out tokens, but this one doesn’t have the “Y” punchout. I don’t know it’s provenance, although I was in New York many times in the early 1980s, working with publishers and media companies. So it may have been in my pocket upon return to San Francisco from one of those trips. But, of course, it never made it into a final turnstyle, and never will again, as the MetroCard entirely took over as the currency for transit fares in 2003.

I’ll add this token to my storehouse of RFID cards (which includes a paper MetroCard from 2018).

And this token is still “GOOD FOR ONE FARE” on the memory train!

The post Clean out your Basement appeared first on Sky's Blog.

The next step after that is to hear someone humming your melody while walking down the street.

And extending that, the ultimate compliment  might be when it becomes someone’s ringtone?

The post High Compliment to a Composer appeared first on Sky's Blog.

Turns out that “The Orchard Music” which is owned by Sony, claims that the very last note and the applause from our performance is stolen from a recording they represent. And it’s not even the same note. Mine ends on an F and theirs ends on an A-flat. Ah, but they are both notes on a piano. Just joking.

Well obviously this is a match made by some kind of automated process, but it’s grossly weird 1. that applause would even match; and 2. that it depends on The Orchard Music now to release their claim. Meanwhile it is assumed that they do in fact own that section of my recording, and they can monetize (put ads on) my original recording.

You know what’s even funnier. I just listened to their recording on YouTube. And now it shows that in its entire history it has had one single play. Meaning that I am the only person who has ever played their YouTube segment. In the full year that it’s been on YouTube.

(Outcome: “The Orchard Music” released their claim on July 18th, just over two weeks after it was made.)

Here’s the performance I’m talking about, In case you want to hear my entire recording…

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