Dusted Wax Kingdom – The Trip-hop Netlabel

(click here to watch on the Vimeo site: http://vimeo.com/rumena/dustedwax)

running time: 17:05 min.

Some people collect records. Mitko is different – he collects artists.
Find out what drives the Dusted Wax Kingdom netlabel and meet one of the people
behind modern Trip-hop in this 17-minute short documentary.

The Dusted Wax Kingdom netlabel, based on the Black Sea coast in Varna, Bulgaria,
has been releasing Trip-hop music for over five years.
Everything they create is shared for free with their listeners,
spreading the love and passion for old-school samples and beats.

Some of them only do it for the fun; others are making great money
out of a new and unique business model.
Find out how they create, why they release their music independently
and what inspires them to keep going.

This is the first ever documentary film about a netlabel, made in Bulgaria.
It is released under a Creative Commons license.

The film looks at the digital phenomenon of netlabels,
using the Dusted Wax Kingdom as a case study.

It features a high quality, free, fully Creative Commons licensed Trip-hop soundtrack
with unique music from the netlabel.

To find out more about the Dusted Wax Kingdom netlabel, visit dustedwax.org

If you enjoyed the film, please share it and help more people find out about this unique music.


Music & Sound Design in Computer Games – Dave Ranyard’s talk in Coventry University

25.11.2011, Dave Ranyard, Executive producer, Sony Playstation

A few weeks ago, I attended a talk about music and sound design in computer games, and was absolutely fascinated. Here are some assorted notes from the talk:

Music and Sound Design in Computer GamesDave Ranyard, Game Director / Executive Producer; with over 15 years experience in games development. Has a Computer Science degree -> a programmer; then made a Ph.D. in AI (Artificial Intelligence). In the first game project he joined, he was working on menus, then moved to audio; then set up an Audio department. He says it was good that he had more than one strength: programming PLUS audio.

He spoke about the different ways of producing games:

  • old-school: 2-3 years development -> release
  • SingStar: modern production process; factory mentality (constant production + distribution)
  • DanceStar (his pitch): 8 months development

For DanceStar, His team was about 90 people; this was an Augmented Reality / Artificial Intelligence project.

DanceStar Party

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Grooveshark, music distribution and culture in a digital media environment

One of our coursework assignments was to write and record an academic audio essay covering an issue in copyright and / or piracy. Here is the question I chose to work with:

Choosing one case study around ‘Piracy’ or ‘Copyright’ (such as a particular website) analyse the social, cultural, political and historical contexts that have impacted upon it.

Grooveshark logoI’m posting it here, first, because I am proud of my work (and I got good feedback for it), and second, because I want to share my views on the issues of copyright and music distribution – and Grooveshark’s case study is a very good example for where I think we are headed. In essence, my position is not whether someone has or does not have the right to use authored content; I am questioning the whole notion of copyright protection. After all, it was only introduced a few centuries ago, in a very specific context, and maybe it is not serving the same purposes anymore – because the society, business and technology environment have changed greatly since.

I’m including here both the audio version and the transcript. The audio version has interactive referencing – whenever I mention a source, you can click on the timeline and see details about it.

Do you agree with me, or have a completely different idea about these issues? I’d love to hear your thoughts in the comments.
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