Learning Music Monthly

Two years ago, L.A.-based musician John Wood and CC-friendly record label vosotros launched Learning Music Monthly, an album-a-month musical series. Every month, John Wood wrote, recorded, mixed, and mastered an album—and made each album available as part of a tiered subscription service that ranged from a donation-based digital option (available for download under a CC BY-NC-SA license) to a $60 package that included handmade albums delivered to your mailbox, limited edition stickers, bonus albums from friends of LMM, and even personalized birthday songs! These extras inevitably evolved as the project scaled, but the albums kept coming, an impressive feat for John Wood and his friends.

After three seasons and 36 albums, LMM has finally come to an end. In celebration, vosotros has created an excellent 37 song Learning Music compilation entitled, “An End Like This,” blogged over at the Free Music Archive. Additionally, all of the albums are archived for continuous discovery and remix at the LMM site.

R.E.M.

A great example of new, open distribution models, LMM is only one of many musicians and projects encouraging participation and remix under CC licenses. Earlier this year, R.E.M. launched a CC remix contest for “It Happened Today” on SoundCloud, one of the web’s easiest platforms for sharing your CC-licensed originals and remixes. Stems from the song were released under CC BY-NC-SA, and remixes were uploaded to SoundCloud under the same license. You can check out all remixed versions of the song here and read more about what went down at CC Australia’s coverage of the contest.

Paul Simon

Indaba, a hub for musical collaboration online, also continues to work with an expanding and interesting array of musicians for its artists remix contests. A recent contest featured Paul Simon’s latest single “Love Is Eternal Sacred Light,” soliciting fan remixes under CC BY-NC-ND.

Nighty Night by 8in8

And the latest treat is Nighty Night by 8in8, an all-star collaboration between Ben Folds, Amanda Palmer, Neil Gaiman, and Damien Kulash from OK Go. The group set out to make eight songs in eight hours, and released the resulting album under CC BY-NC. You can read Neil’s account of the song-making process at his blog and buy the album at Amanda Palmer’s bandcamp page. Initial proceeds will go to berkleecitymusicnetwork.org, a charity dedicated to fulfilling kids’ musical potential.

Offering a tiered subscription service (amenities include stickers, bonus albums, a song written for you on your birthday, and much more depending on price), Learning Music Monthly is a great case study in figuring out how independent artists and labels (LMM is released through CC-friendly label vosotros) are approaching distribution in today’s current music climate.

We were able to catch up with John and pick his brain about the project, including his thoughts on writing and producing an album a month, a subscription/donation-based distribution model, and his decision to release all the music, cover art, promotional text, mix-stems, sheet-music, and lyrics under a CC license.

Learning Music Monthly @ Machine Project – 01, cameronparkins | CC BY

Can you give our readers some background on yourself and the Learning Music Monthly project? What has your career as a musician been like? LMM monthly has existed previously – what is different this time around?

LMM really began in November 2006. I had spent the previous two years doing a fair amount of touring with other bands, and assisting on a film score, all of which was really fabulous and fortunate to experience. That month, I turned down a bunch of work and created the first Learning Music album. For me, it was something very much apart from my professional musical experiences. I get paid mostly to create what other people hear or see, which I’m very lucky to do. When I set out to complete that first album, there was a deep spiritual need inside me, which I had been aware of for a long time, to create something more personal. The payoff, instead of a check, was the pleasure of handing to friends this little secret disc, weirdly wrapped up in reclaimed cardboard. LMM is a little different from that now, in that we actually sell subscriptions. I think I’m still in the process of learning what that means creatively. It’s also much different now because of all the support from John G and Vosotros. The first year, my audience was mostly my friends. Now I’m making music for people I’ve never met. And they’re paying for it! Part of me of course wants to only create what I think these people want to hear. Hopefully I will eventually be able to give them something that they never expected, but that’s really good for them. Sometimes I feel like I lack the confidence to do that, but then ultimately there’s no time for doubt.

How do you generate the ideas and energy to complete an album a month? Do you work with collaborators? What is your recording and distribution process like?

The ideas come from everywhere. Each album has it’s own purpose or guidelines. So that gives a lot of focus. I think that is the most important idea each month: the bigger concept of the record. I get a lot of ideas from books and art, going to museums. I’m not entirely sure about the energy. It’s probably a mix of carbohydrates, inherited workaholism, and the excitement of potentially doing something great. I’ve learned that the energy comes in waves; there’s a time each month when I become drained and just want it to be over; it usually lasts a day before I get inspired again.

Three of the last five albums were big collaborations, and even those other two had various musicians coming over to play on different tracks. Mostly I’ve been asking people to be producer for a month. There are several more of those planned. Hopefully, as we grow, I’d like to delegate more responsibilities.

Each month, I’ve been making production schedules, which ultimately aren’t followed at all except for getting the album done in time to ship out by the first. When I’m recording, songs will usually get a little demo, with tracks built around that. I’ll record all the instruments first (except for maybe a couple parts), then vocals. I do a lot of mixing while I record, but also spend time on that after tracking is done. Since I’m usually working in the computer (with Protools), I have a whole system of saving different versions and color-coding files to tell me how close they are to finished. I also have a little white board with all the tracks listed and different colors and notes next to them. Once the tracks are finished, the CD is handed off to John G. We get CDs made in relatively small numbers, which takes a few days. Then it’s off to the post office to send them out to subscribers. Every album also goes onto our website, where subscribers can stream or download them.

You’ve utilized a subscription/donation-based model for the project’s distribution. How do you feel about this decision in hindsight? Much has been made of these trends enacted by big-name musicians – as a smaller artist, have you found that it works?

It’s still hard to say at this point, as it is relatively new for us. I’m sure we have a handful of subscribers who wouldn’t have signed up had it not been for the donation option. The majority of subscribers have paid by donation, and some of those very generously. I feel good about the way we have it set up right now.

You chose to release all of the music coming out of the project under a CC BY-NC-SA license. Why did you choose this license? Have there been any positive benefits as a result? Obstacles that you have had to overcome?

CC seems to fit the project well. I feel like this license can inspire new creative opportunities. Also, it just makes sense with the current state of technology. I’d rather people have the music than not; so if someone burns a CD for their friend, that’s great. We’ve gotten a lot of positive nods from people just for being aligned with CC. There have been no real obstacles so far. But I could see issues coming up as we get into remixes and covers of work by other artists who aren’t using CC licenses.

You are at a halfway point for the year long project – what is up next for LMM? How can our readers get involved?

LMM 2.5, Christine Finley | CC BY-NC-SA

The albums are lining up. The next one is made up of 99 twenty-second songs, using only sounds from my body (voice, claps) and samples of objects found in our kitchen. Then we’re remixing a bunch of songs by friends of ours. I’m also talking with a few great musicians about producing/collaborating on upcoming albums. I’m hoping that at the end of these twelve months we’ll have the energy and ideas to keep going.

The easiest way to get involved is to go to the contribute page on our website. There, anyone can download stems for remixing and sheet music for covering LM songs. Remixes and covers, as well as individual samples, can be uploaded to us (through Soundcloud);

The album, which is a collaboration between Vosotros and Sam Barsh, is generating some amazing buzz and digital sales. Most exciting for those in the CC-community is the following quote from Amazon-blog Chordstrike (the album peaked at #8 on Amazon’s Classic R&B download chart):

Assembled by a crew of some premier sidemen, this fluid set of thumping soul is the sort of album that as fun to listen to as it seems like it was to make. With one eye pointed towards the past and the other one winking, they show love for not only the funky greats of the past 30 years, but affection for kitsch, too. Vosotros takes their motto, “music for you-all,” seriously. They’ve made the album available as a free download for a limited time and licensed it under Creative Commons encourage sharing. Enjoy it, remix it, and tell your friends.

Download the album for free or order it from vosotros’ online store.

Learning Music Monthly, the subscription-based, album-a-month music series from L.A.-based John Wood continues to grow from its initial launch four months ago. Produced in conjunction with CC-friendly label Vosotros, the latest installment of LMM is a video album, with Wood producing music to videos from ten different LA filmmakers after their creation – an inversion of the traditional approach to music videos.

You can download (ZIP) silent versions of the films from the LMM website, stream the videos at a variety of destinations, or become a subscriber to access downloads of the videos (as well as the rest of the LMM music archive) in hi-quality formats. Subscriptions are tiered from a donation-based digital option to a $60 deluxe package and all the material is released under CC BY-NC-SA, allowing you to build upon and share the bevy of work created by LMM.

Learning Music Monthly is a new subscription-based, album-a-month, musical series from L.A.-based musician John Wood. Launched yesterday in partnership with CC-friendly record label vosotros, Learning Music Monthly grows out of a previous and similar project that began as an album-a-month project for John Wood and his musical cohorts, resulting in releases that ranged from a record made entirely on a hand-held cassette recorder to “an autobiographical musical written by a robot.”

Building upon new methods of music distribution, LMM is being offered as a tiered subscription service that ranges from a donation-based digital option to a $60 package that includes, amongst other amenities, a handmade album delivered by mail each month, limited edition stickers, bonus albums from friends of LM, and a song written and recorded for you, delivered on your birthday. The band is also offering a lifetime VIP subscription, which includes a private performance anywhere in the world. From LMM:

Learning Music Monthly is a collaborative, subscription-based album-a-month series. As a subscriber, you receive a brand new full-length album of original music every month. You can choose to receive your monthly issues on CD (delivered to your mailbox in beautiful handmade packaging, with cover art by a different artist each issue), or in downloadable high-quality mp3 format. Subscribers also receive unlimited access to our online archive of music, including a newly re-mastered album from the original twelve Learning Music albums released each month. Additionally, you are invited to collaborate in the creation of Learning Music Monthly, with remixes, covers, and sound donations, regardless of whether you are a subscriber or not.

As one of the primary foci of Learning Music Monthly is collaboration, the website features numerous ways for the LM community to get involved. Found sounds, remixes, cover versions, and videos are all encouraged and LM has gone so far as to begin filling the section on their own, including audio stems for the first installment’s single Short Tempered. All of the material – from the original music to artwork to samples – is released under a CC BY-NC-SA license, an essential aspect of the project that makes this kind of digital collaboration legally sound and clear.

The project has just begun, so be sure to head over to the Learning Music Monthly homepage and learn more about what is happening. Similarly, the project has launched with a page at CASH Music, the CC-using music nonprofit “dedicated to improving the music experience for artists and listeners alike.”

Choosing CC for the project is in spirit with the incoming administration’s license use. ¡ YES WE PUEDE ! joins DJ Z-Trip’s Victory Lap in the “awesome CC-licensed music inspired by the Barack Obama” category.

One last reminder that we are hosting the latest CC Salon LA tonight (9/3/08). Details below:

• WHO: Xeni Jardin, Tech Culture Journalist + co-editor at Boing Boing, Casey Caplowe, Creative Director at GOOD Magazine
• WHAT: Discussions of openness in journalism with live music provided by Vosotros
• WHEN: Tonight, 7:30PM – 9:30PM
• WHERE: FOUND Gallery in Silverlake (Google map)
• PRICE: Free entry and free drinks
• NETWORK:Upcoming // Facebook

Looking forward to seeing you all there!

A friendly reminder that we are hosting the latest CC Salon LA next week (9/3/08) at the FOUND Gallery in Silverlake (Google map) between 7:30PM-9:30PM. Joining us will be Xeni Jardin, Tech Culture Journalist and co-editor at Boing Boing, and Casey Caplowe, Creative Director of GOOD Magazine.

Both will discuss how CC, and ‘openness’ in general, has been employed in their respective undertakings, touching on the the successes they have had as well as obstacles they have had to overcome, specifically in regards to traditional and non-traditional journalism. Both will be available for Q&A after their presentations.

Follow the event on Upcoming, mark attending on Facebook, and make sure to come down and hear from two exemplary members of the CC community on their experiences with open licensing. As always, there will be free (as in beer) drinks for the entire night.

UPDATE: We are pleased to announce that the wonderful sounds of Vosotros will be heard at the Salon in between presenters, giving you yet another reason to attend!