Mashable.com, the impressive and wildly successful blog about social networking has a useful list of Sources For Creative Commons Content. Remixers working in the creative commons realm, will find a number of useful audio resources listed there.
Thanks to Loveshadow for the following. He writes:
“Sometime ago on the Realworld Remixed site i posted in the forum there about the site extending its borders to include visual art. For those who liked a remixers work and were moved to add artwork to support it.
Well here is a vision of the future: remixcommons.org
It is an inspired UK based project embracing the Creative Commons ideal whole heartedly. You will find music, video, artwork, blogs, poetry, links to other sites and projects. There is also a full and simple explanation of the mechanics of the CC protocol.
I am sure there are other sites out there blossoming like it, but even if you don’t get involved it’s an entertaining way to spend a hour or two and worthy of your support.”
More from the Remix Commons home page: “Remix Commons is a network of free culture projects in the UK. Our aim is to get artists (working with music, video, images and text) to come together and share their work, be inspired by each others’ work, and ultimately to create ‘remixes’. Our volunteers run local events promoting free culture, bringing the ideas and content to people across the UK who would never find this stuff online.”
For some most amazing remixes, check out Loveshadow’s realwordremixed page.
I’ve finally just started to experience both sides of ccMixter.org for the first time – once as content provider and once as as remixer. And the first impressions are very positive. If you want to hop right over and skip reading my notes below, I would recommend starting with the ccMixter about page.
So you are still reading this? Ok here we go:
Being sponsored by the Creative Commons organization, ccMixter is not littered with advertising and assorted visual madness so commonly seen at social networking sites these days. While I consider that as an overwhelmingly good thing, some aspects of the user interface take a bit of getting used to, because it is so refreshingly clean, different and not yet another clone of so many other over-hyped so called web 2.0 sites. It’s a bit like using Google for the first time, after having used Yahoo for a long time. ccMixter packs plenty of web 2.0 punch, many things implemented much cleaner than on other sites. How many sites have we all visited with more than one “play” button for various snippets of music, but when you already have one piece playing, and press on another play button, the first piece continues to play? ccMixter gets this right. A newly pressed play button switches off the previous piece and starts playing your newly selected one. And the site handles changing browser window sizes and/or font sizes about as elegantly as can be done these days. Just those two things – done better than so many high profile sites – are a couple of immediate tip-offs about the thought, craftsmanship and caring that is going into this site. Victor Stone is the gentleman behind most of the programming code and he goes by the handle of “fourstones” on the site. And being a very good music maker and remixer in his own right, he is an active participant in remixing as well as uploading samples in addition to hovering around the forums to answer questions and give guidance. I wonder, if he ever eats or sleeps. 🙂
ccMixter (so far) doesn’t have a “friends” mechanism. I don’t know, if that is a philosophical choice or a question of maybe adding it later. Personally I hate the inflated friends thing (and on many bigger sites it quickly gets to be that way) – it becomes quite useless, once there are too many friends for each person. But on the positive side a friends mechanism is one interesting way to link-hop and can be a fast way to find people one already knows, because a friend may have already marked them as friend. So a friends mechanism has worked for me at times, but only while the numbers of friend linkages is reasonably small – maybe up to 30-50? However ccMixter offers fabulous RSS feeds for following the exploits of the people one wants to stay in touch with. In addition it’s easy to see what comments (called “reviews”) a site participant has made, so that is one way to to link hop, although those lists end up quite lengthy as well. Maybe the system could be programmed to derive a “friends” type of list from multiple comments having been sent back and forth between individuals? In any case, it’s a fascinating problem to solve for social networking sites, regardless of topic.
Generally speaking, ccMixter doesn’t try to re-invent all kinds of wheels or make itself the hub of your entire life on the Internet. So while it clearly is a social networking site around musical collaboration (remixing being “sequential collaboration”), it’s not there to handle your entire online life, promote your band or other stuff so common amongst the social networking clones out there. It’s a place where reasonably serious music makers meet for the purpose of remixing. Overall ccMixter doesn’t try to suck you into visiting the site all the time for ad revenue or to drive the hit counters up for a future takeover by one of the dot com giants. How refreshing!
The licensing of source materials is straightforward creative commons based – this means content at ccMixter can be freely remixed, sampled, mashed up and re-published non-commercially (some content even allows commercial re-publishing). This type of licensing allows the music to flourish and is becoming recognized by more and more visionaries in the arts as well as in business.
Maintaining an Identity
Signing up to the site was straightforward and fast. One can create a profile page with a single small image (remember ccMixter doesn’t try to be a promotional site for bands or general hangout for buddies), a link to one’s home page, some “about” text and a couple of other informational items. A great feature is the ability to send emails to other users without knowing each other’s email address. I much prefer that over the PM (private messaging) systems, which force me to log on to the hosting site to see what the message was. The PM madness out there is like a return to the stone age of multiple disconnected email systems. ccMixter scores big points in my book for its approach to messaging. (Even the software we’re currently using for the a minor theory site gets this wrong – Note to self: fix that!)
This worked straightforward as well, but this is where I spent some wasted time and bandwidth, because I didn’t read the upload page properly. While the initial distinction between acapella tracks and other loops is sensible, it would have saved me some time and ccMixter some bandwidth to be able to switch my uploaded files from “sample” to “a capella” after the first erroneous upload. To get the tracks into the right category I ended up deleting them and re-adding them through the right link. Similarly, it might be nice to switch a regular remix upload into a contest entry later on, or vice versa.
A ccMixter limitation, which I have a lot of sympathy for is the 10MB limit on uploads. I have sympathy for it, since in my own experience with our “a minor theory” site, uploads of more than 10MB’s often fail. Combinations of web host limits, slow Internet connections and browser timeouts can make uploading larger files a difficult proposition. However, this limitation makes it quite a bit of extra work to upload entire remix packs. For example the remix packs for our a minor theory songs even in FLAC format are between 36 MB and 64MB. So I ended up just uploading a capella tracks and creating a link to the full remix packs hosted at our own site. Maybe it’s just fine that way, too.
Submitting my remix to the Salman Ahmad remix contest was overall a very straightforward and pleasant process, but it did ask for a bit too much private data for my liking. Why does one have to part with that data just for entering the contest? I understand that some additional data may be needed for the winners of contest, but that would only be a small subset of the contestants and could be collected only from the winners at the time that it becomes necessary. Fortunately that additional private data isn’t shown publicly on the site, but in the age of identity theft, I am a bit hesitant to submit private data to a website, because even the best designed, programmed, managed and well meaning website can suffer from a programming bug or an attack. In ccMixter’s defense, one doesn’t actually have to enter that data at the time of uploading the contest entry, but can fill it in later – could that be after one is notified of being a winner?
Finding things and staying informed
There’s a useful general search function, although one needs to keep in mind that the underscore _ character is used instead of a space in most name and keyword fields. There are lots of links – you are always only one click away from any provider of content. There’s a useful forum for more public group dialog and to get help. All content is tagged with system selected as well as uploader definable tags, so for example, one can quickly find content with tempo 125 to 130 bpm. Or a female melody a capella track. As mentioned before, there are RSS feeds all over the place. Maybe one nice addition might be to be able to get separate feeds for just one forum area rather than only a combined feed for all forum traffic. I find RSS indispensable to keep in touch with a lot of stuff, and can only highly recommend learning how to take advantage of subscribing to such feeds.
Listening (New paragraph added 2007-07-26 GMT)
In addition to having a really nicely implemented ccMixter Radio, editor’s choices, and user ratings, ccMixter’s playlist feature is a great way to remember, organize and track favorite remixes, or the worst of the worst, if you are so inclined!. You can have many playlists and listen to or subscribe to other user’s playlists, including the omnipresent RSS feeds, so you can stay informed of other user’s updates to their playlists.
So even for pure music listeners ccMixter offers a superior experience to most social networking music sites. As the quantity and quality of the content grows, there is little doubt in my mind, that ccMixter will become one of the legendary music destinations on the web. And because of the creative commons licensing, it is immune to a lot of the nonsense affecting internet radio and online music in general. As the corporate players in the traditional music business are becoming ever more aggressive in locking up music, sites like ccMixter will continue to bring music makers and audiences together. There is already quite a bit of quality music there – and even some of the less refined stuff has a raw charm to it, which reminds me of the magic of experiencing music more personally. intimately. The web version of musical performances in a small coffee-shop or club. Instead of leaving a tip, you can leave a review for the online performer. A nice comment makes any performer’s day whether it be after a live or after an online performance. On a site like ccMixter it’s much easier to avoid listening to crap than on most commercial radio stations with it’s corporate rock bands, mickey mouse club alumni and television contest winners. And ccMixter doesn’t have advertising blemishing the music experience.
Bottom Line (for now)
These are just my first impressions, and so far there is a lot to like about ccMixter – and in my opinion it’s the overall best remixing site I’ve found so far. I hope that most of my remixing friends will start joining ccMixter. The site has the potential to become the best remixing treasure on the web – in many technical ways it already is, but a continuing influx of talented music makers will really fulfill it’s potential. I recommend starting with the ccMixter about page
In addition, I’ve seen talk about additional collaboration features being added. That would be a great addition indeed, since remixing and collaboration are highly related and many remixers end up collaborating (heck, that’s how a minor theory started!)
I’ll try to actively participate at ccMixter by providing more samples from a minor theory and some of my own as well as remixing some other content from there outside a contest. It will be interesting to compare the experience of a site without a “friend” mechanism to other sites with friend mechanisms.
After having given ccMixter a first good spin (pardon the pun!) , I have a little bit of the same feeling, when I first bumped into Wikipedia or the Internet Archive. This has the makings of becoming one of the very special destinations on the web.
Any errors, omissions, or other thoughts, please leave a comment. – Thanks!
This contest may be interesting for remixers, who enjoy world music – from ccMixter.org: Salman Ahmad “Natchoongi” Remix Contest: “Creative Commons and Magnatune are extremely proud to be working with international multi-platinum recording artist Salman Ahmad and are pleased to offer the audio source files from Salman’s Natchoongi online under a Creative Commons Attribution-NonCommercial license, so that producers worldwide can use the sounds in remixes and new compositions. As a way to celebrate we are sponsoring a remix contest using those sources.”
I like the licensing terms much better than those at sites like realworldremixed.com, since remixers are allowed to publish their remixes non-commercially in other places than the sponsoring site.
This is a really interesting label – for remixers in more than one way: As a potential source of remixing materials as well as a destination for distributing one’s music. In their own words: “Magnatune is a music/business experiment that has never yet been tried. We’re doing our best to make it succeed, but it may not. If we don’t make you any money, we think we can get you some exposure, it won’t cost you anything, and we won’t limit your future options.”
And explaining the concept of Open Music: “Open Music is music that is shareable, available in “source code” form, allows derivative works and is free of cost for non-commercial use. It is the concept of “open source” computer software applied to music.”
I have no idea if this model can generate meaningful revenue, but it most certainly looks like it can facilitate the creation of great music. But there’s a lot that seems right about this. Definitely worth checking out: Magnatune
The musical talent pool now has technology in their own little studios, which only a few years ago were only accessible to artists who had good financing (by record companies or other sources).
That means many more people are learning how to record, produce, remix, etc. with rather little money spent. This in turn spawned the evolution of a high end amateur producer scene, blurring the boundary between amateur and professional. Similar events have disrupted and shaped other areas including computer software, photography, astronomy to just name a few.
And it means the arrival of large numbers of producers on the music scene. Once you have a moderately decent home studio you can become a producer. Producers who aren’t always performers. Or great performers who love producing. These producers can make remarkable music. Some are arriving from a DJ angle, some more from a performer angle.
Remixing is essentially a form of producing. Originally remixing was an afterthought – a second production, a remake with at least some of the tracks of the original production.
But I think remixing can be more than just an afterthought – it can be a refreshingly different model of creating recorded music.
Remixing is a form of sequential collaboration, allowing more people to make something into a better overall product, without having to be at the same place simultaneously and without having to agree all the time. Remixing avoids band internal fights. Remixing allows simultaneous parallel versions. Remixing makes the whole participating community better.
Some of the big acts these days are produced technically in a remixing way. But it’s still very much a controlled process with a lot of licensing control and issues. But what if we would give up control and make remixing much more open? What if we didn’t predetermine, who was going to produce what and when? What if we started recording song sketches and then let the remixers at it? Songs could become many different things simultaneously. Some of them will suck – just like much of the stuff we get fed by former MMC members, TV contest winners and corporate rock bands. And some of the remixes will be amazing, something we would have never thought of, special pieces of music. Maybe we could call that “extreme mixing”. The opening up of the production process to wide participation.
What’s wrong with remixing? Only one thing: It’s not easy to craft a somewhat fair, yet efficient economic model around it.
So remixing has tremendous artistic value potential, but we don’t know (yet) how to handle the economics of it.
I submit: Let’s NOT have the economics stop us from pursuing a good thing.
So I encourage everyone: write and record songs, make remix packs for others, and remix others. Writing songs and making remix packs is hard, but it puts you into the most valuable part of value chain! So there’s an upside for the extra work.
If you want to reserve the right to make money later, you can protect potential future economic interests by licensing under creative commons non-commercial, attribution, share-alike type of licenses. Or even allow commercial exploitation — if your work gets a great reputation, money has a chance of following in a variety of ways.
In the software business this has become quite common with open source licenses. And many people and companies who are opening their stuff up have still found ways of generating revenue. Not everyone, but many. There will always be people who do stuff for a living and others who do it without making money at it. So that doesn’t change. But whether you want to make money with it, or not, at least try something new! In software, one of the key successes was that open source licensing allowed people to build upon each other’s work or to take a piece of work into a new direction. That created a body of excellence previously unknown. The Internet became what it is, in large part, because of open source software. Will remixing do the same thing for music? I think it can!
Of course, if you are already have a major label deal, abandoning your currently successful business models is a scary thing to do. And maybe it’s not the right thing for your individual situation. However for most of us, what do we have to loose?
Therefore I say, let’s remix each other and see what we can do. Build on each other’s work and make something brilliant!
One of the excellent remixers from over at realworldremixed.com, DJ Rkod has just made one of his original tracks available as a remix pack. Here is his announcement from MI7.com:
DJ Rkod – “Pulse” Multitrack Files Now Available!: “For the remixers out there (and I’m sure there are many) I’ve just released the source files for the first track off my debut album, Pulse! I’m looking for a couple of remixes to use as B-Sides to the upcoming single. Since I don’t release any of my material at any cost, I can’t offer any prize beyond my gratitude. As with all my original stuff, the source files have been released under a Creative Commons Attribution 3.0 license, which means that you can remix and even sample this song with only one restriction: you must credit me as the original author.”
I hope he’ll get many takers!
p.s. If you are or know of anyone else, who is publishing remix packs, feel free to let me know, so I can post it here, too!
I should mention one of the significant audio resources on the web, the Internet Archive: Audio Archive: “This collection ranges from alternative news programming, to Grateful Dead concerts, to Old Time Radio shows, to book and poetry recordings, to original music contributed by users.”
This site is significant as source for some very interesting audio material as well as a place to host musical works. Much material there is under a variety of creative commons style licenses, which make it easy to understand, which material can be used for remixing, and under what conditions. Advantage of having one’s audio materials hosted there include the fact, that the free hosting includes well more then the common 4 or 5 song limits of many other sites. However, one needs to be a bit more technically comfortable, including the use of FTP to upload ones’ materials. The site isn’t as much a social networking site, but more like a library. And some of us may find that a welcome relief. 🙂
A new excellent source of high quality audio materials from two different acts for remixing over at ccMixter:
Curve music Remix Contest: “… the audio source files from several tracks from Zone’s ‘MADRUGADA’ and Tamy’s ‘Sou Mais Bossa’ albums online under a Creative Commons Attribution-NonCommercial license, so that producers worldwide can use the sounds in remixes and new compositions. As a way to celebrate we are sponsoring a remix contest using those sources.”
The material is from: Enzo Torregrossa AKA ZONE (featuring Manola Micalizzi) and Tamy.
The contest runs from June 6 to 28, 2007.
This one looks very interesting: Funky Remixes: “A Free and Legal Music Source | Free Remixes… Listen, Download, Rip, Remix and Share: artists like the Beastie Boys, Chuck D, David Byrne, Paul Westerberg and many others are mixing up the copyright laws of music. They want you to have free access to music.
Why? To allow fans and musicians to rip, remix and share music, free and legally, in support of ongoing music creation, promotion and evolution.
A copyright revolution, fueling a music evolution.”
The site seems young still, but looks like it will be worth following, although I prefer sites with remix packs rather than only finished mixes. Found a great David Byrne tune there.