8 Eylül 2014 Pazartesi

Vinyl is growing fast an essay from the Independent

Manufacturers are struggling to keep up with the resurgence in vinyl records

A
A
A
The cost of building new record-pressing machinery is prohibitively expensive, so greater volumes are being pumped through ageing machines
img
Vinyl demand: a factory making the old-style discs
The crackle of a vinyl revival has been getting louder this year as dropping the needle on a record becomes ever more in vogue. But what has been championed as a victory for music purists is putting a strain on a creaking industry.
Pressing plants are struggling to meet the increased demand for records. The cost of building new record-pressing machinery is prohibitively expensive, so greater volumes are being pumped through ageing machines in the few plants left.
Lead times for pressing records have been pushed back from a month to three in the past two years as orders stack up globally, frustrating labels, artists and fans. The world's largest vinyl producer, GZ in the Czech Republic, reported its busiest-ever day this year, pressing 42,000 in a day in February. The company has recently bought six ageing machines in an attempt to increase production, but is reportedly unlikely to get more than half working.
And there appears little sign of vinyl's reborn star waning. The frisson of excitement that rippled across the internet was palpable last week when the reclusive electronica artist and nerds' favourite Aphex Twin revealed that a ballot will run on 200 copies of his long-awaited new album on triple vinyl.
Record sales were up 40 per cent in the first half of the year, according to SoundScan research, even disregarding records sold directly from music labels. Findings by ICM Research earlier this year showed that 15 per cent of those buying physical music do not intend to listen to it, but only collect it. The 12in and 7in slabs of music are back in mainstream fashion, making a beat-up Dansette player as trendy as craft beer and a beard.
"People are dusting down their turntables from the shed or the attic and their kids are interested in owning something tangible," says Adam Teskey, manufacturing director at the Vinyl Factory, over the hum of pressing machines at its plant in Hayes, Middlesex. "Vinyl sales have some room to grow yet," adds the Vinyl Factory's creative director, Sean Bidder. "A huge swathe of teenagers have fallen in love with vinyl, despite the fact that this is a demographic that have grown up only knowing digital music."
The Vinyl Factory presses everything from innovative special editions by The xx to Elvis classics, on machines built in the 1970s. These begin as puck-sized pieces of PVC and are squashed under 90 tonnes at 200C, coming out at 14in before being trimmed down.
The plant itself has history. Images of a 14,000-strong workforce pressing records and making gramophones for the music industry giant EMI on the 58-acre site dominate a small museum in an adjacent building. King George and Sir Paul McCartney beam from old snaps of the plant, which was bombed in the Second World War when it was commandeered as a munitions factory.
But Teskey, who is taking on three apprentices this year, is frustrated by references to vinyl's heyday when the industry is booming. "I like the history, but we employ people, we are an innovative, forward-thinking business," he says.
It's a feeling shared by Shane Whittaker, co-founder of mastering and manufacturing firm Curved Pressings. "I'm still thriving in an industry that does not exist if you go to a bank manager," he says, speaking from his new Ibiza office. "I expect vinyl just to get bigger and bigger until production capacity reaches breaking point."
According to Teskey, Record Store Day has become "the new Christmas", replacing the traditional peak from October to December. "For the vinyl collector to change that huge peak is quite something," he says. "Usually there’s been a blip after Record Store Day but this year it just carried on.”
But the labels are facing a constant conundrum. “Do they press more than they originally need as it would take time to get a second run,” asks Record Store Day organiser Spencer Hickman. “Or risk it selling out, waiting two months for more and the interest waning? If you’re sending a band out on tour, timings are crucial.
“The problem is everyone wants colour, picture or splatter vinyl and it’s very time consuming to make."
Vinyl has defied the odds once to return to prominence, but with production close to snapping, fears are growing that prices could spiral and the expense could edge out the newly indoctrinated. For now, however, musos are enjoying giving their records another spin.Vinyl is growing fast...

24 Temmuz 2014 Perşembe

Türk operası en derin sesini kaybetti Ayhan Baran (1929-2014)






Uluslararası şan ve opera sanatçımız Ayhan Baran (bas) Avrupa’daki etkinliklerine 1959 yılında Münih’te Bavyera Radyo Senfoni ve Hannover’de Niederrsachsen Senfoni orkestraları eşliğinde verdiği konserlerle başlamıştır. 1961 yılında “Enescu” ve 1963 yılında “Verviers” şan yarışmalarında ödüller kazanan sanatçımız 1963 yılında “Harriette Cohen” altın madalyasına layık görülmüştür. 1967 ve 1969’da Düsseldorf ve Duisburg operalarında konuk sanatçı olarak sahneye çıkan Baran’ın 1968 yılında Londra’da Maria Rossi yönetimindeki orkestra eşliğinde seslendirdiği Verdi’nin “I Vespri Siciliani” operası İsviçre’de Sonic firması tarafından plak yapılmıştır. Budapeşte Filarmoni Orkestrası eşliğinde Adnan Saygun’un halk şarkılarını içeren dört plak ise 1985 yılında Fransız Plak Akademisi’nin ödülünü kazanmıştır. “Devlet Sanatçısı” ünvanıyla onurlandırılan solistimiz İstanbul Devlet Operası’ndan emekli olmuştur.

21 Temmuz 2014 Pazartesi

Piyanist Verda Erman hayatını kaybetti



Dünyaca ünlü piyanistimiz Verda Erman hayatını kaybetti.

VERDA ERMAN KİMDİR?

Piyanist Verda Erman 1944 yılında İstanbul'da doğmuştur. Müzik öğrenimine henüz dört yaşında iken Rana Erksan ile başladı. Daha sonra Devlet Sanatçısı Verda Erman, Müzik öğrenimine İstanbul Belediye Konservatuvarında devam etti ve Ferdi Statzer'in öğrencisi oldu. Kısa zaman da üstün yeteneğini belli etti ve olağanüstü yetenekli çocuklar için çıkartılmış olan 6660 sayılı yasa gereğince 1957 yılında Paris'e gönderildi.

Paris Konservatuvarında piyano öğrenimini sürdürdü, Lucette Descaves'in öğrencisi oldu. 14 yaşında iken bu müessesenin Yüksek Piyano ve Oda Müziği bölümlerinden birincilikle mezun oldu. Kariyerini geliştirmek amacıyla ayrıca ünlü piyanist ve pedagog Lazare Levy ile çalıştı. Bu arada, Marguerite Long, Jean Hubeau, Bruno Leonardo Gelber gibi çok ünlü hocalarla çalıştı. Daha sonra, Dinu Lipatti'nin asistanı Prof. Louis Hiltbrandt ve Clara Haskil'in öğrencilerinden Prof. Peter Feuchtwanger ile çalışmalarına devam etti.

Paris Konservatuvarında piyano, Noel Gallon'dan armoni ve kontrpuan dersleri aldı. Paris'te bulunduğu süre içinde başarılı konserler vererek 1963 Kasım ayında Marguerite Long-Jaques Thibaud Uluslararası Piyano Konkuru'nda Paris kenti ödülünü kazandı. 1965'de Kanada Uluslararası Piyano Yarışması'nda ikincilik kazandı.

1971'den sonra, dünyanın önemli müzik merkezlerine konuk sanatçı olarak davet edildi ve konserler verdi. Rudolf SerkinMalboro Festivaline çağrıldı. Müzik merkezlerindeki ünlü orkestralar eşliğinde konçertolar çaldı. Belgrad, Paris, Montreal ve Bükreş'te başarılar kazandı.

1971 yılında Devlet Sanatçısı unvanı aldı. Aynı zaman da Cumhurbaşkanlığı Senfoni Orkestrası'nın solist sanatçısı olan Erman, orkestranın Avrupa turnelerine birçok kez katılmış ve verdiği konserler dış basında övgüyle karşılanmıştır.

Türkiye'ye döndükten sonra Cumhurbaşkanlığı Senfoni Orkestrası eşliğinde birçok piyano konçertosunu seslendirdi, bazılarının Türkiye'de ilk seslendirilişini gerçekleştirdi.


Sanatçı Napoli'de Casella, Paris'te Marguerite Long - Jacques Thibaud, Kanada'da Montreal ve New York'ta Edgar Levintritt Uluslararası piyano yarışmalarında ödüller kazanmıştır. Paris'te Marguerite Long Piyano Akademisinden de mezun olan Verda Erman, Fransa, İngiltere, Almanya, İsviçre, İtalya, İspanya, Cek Cumhuriyeti, Avusturya, Norveç, Macaristan, Romanya, Şili, Arjantin, Brezilya, Rusya, Kanada, Japonya ve Amerika Birleşik Devletlerinde vb. konserler vermiştir.

Konser vermiş olduğu önemli sanat merkezleri arasında Bonn'da Beethoven Halle ve Beethoven Haus, Paris'te Salle Gaveau, Salle Cortot ve Unesco, Tokyo'da Orchard Hall, New York'ta Lincoln Center ve Washington'da Phillips Gallery ve Kennedy Center bulunmaktadır.

Solist olarak katıldığı konserlere, Düsseldorf Senfoni Orkestrası, Moskova Radyo Senfoni Orkestrası, Budapest Filarmoni Orkestrası, Orchestre Pasdeloup, Janacek Filarmoni Orkestrası, George Enescu Filarmoni, El Paso Symphony, Belgrad Filarmoni Orkestrası, St. Paul Chamber Orchestra, Lubbock Senfoni Orkestrası, Unesco Oda Orkestrası, Charleston Symphony Orkestrası vs. eşlik etmiştir.

Değisik radyo (özellikle Radio France ve France Musique) ve televizyon programlarına katılan Verda Erman bir çok ülkede ustalık sınıfları (master class) açmıştır. Ayrıca, uluslararası piyano yarışmalarında ve Paris Yüksek Milli Konservatuarında juri üyesi olarak bulunmuştur.


Verda Erman Beethoven, Berg, Chopin, Haydn, Schubert, Brahms ve Ulvi Cemal Erkin'in solo piyano eserlerinin CD kayıtlarını yapmıştır. Ayrıca Düsseldorf Senfoni Orkestrası esliğinde Beethoven'in ikinci piyano konçertosunu (Deutsche Welle) ve Ulvi Cemal Erkin'in Senfoni Konsertant'ını içeren (Hungaroton) CD kayıtları mevcuttur.

11 Temmuz 2014 Cuma

Essay: The music industry’s newfangled growth business: vinyl records By John McDuling



The equation facing the music business is now well understood: Sales of CDs and digital music downloads are in what looks like a death spiral, while streaming music services are adding subscribers and increasing revenues but not yet profits. + But another corner of the music business is experiencing rapid growth: old-fashioned vinyl records. + According to the latest numbers from Nielsen Soundscan’s mid-year report, released last week, vinyl record sales in the US were up more than 40% in the first six months of 2014, with 4 million units sold. In 2013, vinyl sales hit their highest level since at least 1991, with 6 million units sold. At the current pace, this year’s sales are on track to beat that again quite easily. + This trend isn’t new; it’s been going on for several years:

 


Nor is it only a US phenomenon. In the music-obsessed UK, vinyl record sales last year hit their highest levels since 1997. + The top sellers so far in 2014 don’t dovetail at all with what is currently being streamed or downloaded, and give a good indication of who is buying vinyl. Basically, indie rock fans and nostalgists.



What does this mean for the music business overall? It suggests that Taylor Swift is right: the album does have a future, albeit a niche one. Or as Slate’s Will Oremus argued earlier this year growth in vinyl sales can be seen as “yet another manifestation of the societal fetishization of all things ‘vintage’ and analog, which is pretty clearly a response to digitization…” + Yet, while vinyl is growing, it’s not going to be the music industry’s savior. Total physical album sales were down 14.9% in the US in the first half of 2014, to just shy of 121 million units. CD sales led the way down, falling by 19.6% (there were still nearly 63 million of them sold), while digital album sales were down 11.6% to 53.8 million units. Set against that, the 4 million vinyl albums sold are an irrelevance. + Streaming, meanwhile, continues to flourish. On-demand streams were up 42% from a year ago (to more than 70 billion streams), of which audio streams (think Spotify, Rdio, Beats, etc) were up 50.1% and video streams (think Youtube, Vevo) up 35.2%. + The problem for the music industry is that the revenue generated by streaming (through royalties) is not making up for the decline in music ownership, at least not yet. However, when you add up all digital purchases of individual tracks and online streams, and combine them with physical sales, the total dollar “equivalent” of albums sold declined by only 3.3% in the first six months of 2014 (assuming 10 digital downloads, or 1,500 streams of a song, equals the dollar value of an album sale). This time last year the fall was 4.6%. + So who knows? If current trends hold up, even this gap could even be closed before too long—though it would take a lot longer for music sales to recover to the level they had before the streaming revolution began.
Related Posts Plugin for WordPress, Blogger...