We know we're interested in the concept but why?
What do people want to do? Jam, save airfares, avoid having to get too close to brilliant but smelly bandmates?
It has become a tool to pool fabulous musicians otherwise where no access has been previously available. Imagine getting Paul Hardcastle to play keys on your track, or being able to conduct a skype session from Australia to have the tracks sent to you to mix and have the artists on video conference to explain their intentions of the mix. All of this happens daily.
In almost real time we can approve scores or correct them, set the schedule for various sessions and keep the studio very active without the need for transportation. Roughly 60% of the work in the mastering suite comes from other Countries.
Sessions from the UK come in and go back out within the week VS the extra overnight shipping costs and material damage possibilities.
..naturally, every studio today entertains work outside of their domain/region. Whether the communication is better or worse certainly can affect the end product. It takes time to fine tune and establish the proper communication channels but if I were to go 'off line' for a year, I would see a pretty significant reduction in activity at my facilities.
Studio Engineering Since 1975
I do both - live play with my band and Internet collaboration.
There are a number of collaboration sites available offering a variety of options.
It may be commercial work, covers or original. It could involve working from a few hastily recorded ideas to a full blown score.
I use kompoz.com because the online respect and friendliness are good and the contributors and material cover the full spectrum of style, gendre, and expertise.
Someone starts a project, loads an mp3 to the site and the site provides a simple graphic dashboard to develop ideas into final presentations.
Others on the site might choose to join your project and add their auditions. Gradually the project develops by the contributions and interactions of different musicians, mixing/mastering engineers, visual artists and so on leading to a audio and/or visual master.
Contributors to the master are credited to the final product by means of chosen CC Licences and the work is published using the Kompoz system.
For better results wav files can be used by Members who pay a token annual membership fee.
The common language is english although contributors represent many countries and musical styles.
I like the involvement and challenges that collaboration brings. It disciplines me but enables me to download an idea to my DAW, listen and develop something be that a vocal, instrument or orchestrated idea. I choose whether to upload/submit my idea to the project owner.
Private projects can be set up to invited members to develop covers or project that are not accessable to a general membership.
Some join this form of musical and artistic forum as a hobby or possibly a training ground. I have found it stimulating, rewarding and most useful as a community of like-minded individuals who place music in the centre of a social discourse.
A 12 year old can play music with a 60 year old (and vice-versa) with the focus on the musicanship and enthusiasm rather than some visual, mental or physical impediment.
In the example of Kompoz..com, the design is focussed around the social production of music and visual products, it values the processes of creation and the human interaction that ensues, leaving the publicity and commercial market elements to others.
I would certainly recommend musicians to join and benefit from this avenue of experience.
do you know a product, which I can use to share Cubase 6 projects between different DAW's over the Internet? For example one studio will record the session, the other studio does the mix.
Thanks for your help,