So the courts have finally allowed Beatles tracks to appear on our television screens as soundtracks to tv adverts, no-doubt promoting an imminent mini-revival for the Fab Four.

So who do you think will be diving in first?

Surely the pension service will gobble up ‘When I’m Sixty Four’ before long, and AA Rescue with ‘Help’ not long after..

Perhaps ‘She Came in Through the Bathroom Window’ will have a potential future with Chubb Locks, and other security system providers the world-over, or will Weight Watchers and Slim Fast be locking horns over ‘Carry That Weight’? Can we expect ‘Day Tripper’ to become synonymous with the Blackpool tourism board???

‘I’m a Loser’ - improve your prospects with Computeach!

‘Being for the Benefit of Mr Kite’ - go green and power your home with wind turbines!!

I’m sure you can do better, so over to you….

With widely-tipped Foals sparking minor controversy over leaving two fans’ favourites in Hummer and Matheletics, off their debut album ‘Antidotes’ (released in March), is there good cause for a debate over whether single and album releases should be kept apart or together?

It’s often thought that singles, as promotional tools to benefit album sales, should certainly appear on the respective album to please buyers who were turned on to the band’s music by the single. But, with the explosion of digital downloads seemingly devaluing ‘the album’ as a work to be listened to in its entity (due to the fact that you can simply buy whatever tracks you want and leave those you don’t), is what Foals are doing just a make-sense strategy to get more material released without over-stretching an album with too many tracks???

Relevant or not, George Martin is often quoted as saying how he regrets not doing more to get Beatles’ tracks Strawberry Fields Forever and Penny Lane on the Sgt. Pepper’s Lonely Hearts Club Band album (they were of course released as singles prior to the release of the album, and surprised many when they were left off the album’s track-listing…)

“Audio processor and plug-in developer Waves Audio has kicked off a series of investigations aimed at discovering and collecting payment from unauthorised users of its software.

Using undercover agents, Waves has obtained undercover evidence and is threatening court action to back up its claims for payments plus damages.

Waves is expected to roll out the action globally. The company has offices in Tel Aviv and the US.

The operation began earlier this year as teams of investigators posing as potential clients visited facilities in the UK and US to gather evidence, secretly filming studio owners and engineers demonstrating or discussing cracked copies of Waves plug-ins.

Users later received an official letter from Waves’ collection agents informing them of its intention to prosecute, followed by an offer to settle out of court for a sum several times higher than the price of the item concerned.

The investigation by Waves and its collection agents in the UK and the USA is part of the global campaign BanPiracy.

The agents have confirmed that measures are being taken to secure both payment for the licences and penalties for the alleged infringements but will not say how many potential actions are in progress.

According to Waves CEO Gilad Keren over 50% of all commercial studios are using stolen or pirated software, unlicensed content and cracked applications. Keren says, “Our methods are entirely legal and ethical. The problem of audio software piracy affects developers, manufacturers, customers, studios, dealers, engineers and content creators worldwide. Waves is proud to be part of the solution.”

(Music Week Magazine 8/8/07)

So recently waves have been taking active steps in trapping studios that are using illegal waves plugins on their computers. It seems they have been sending round a couple of Israeli guys pretending to be prospective clients then tricking studio managers in to talking about the plugins on the rigs and then taking video evidence. Once they have established that certain studios have been running illegal software they have then been asking them to pay more than waves is worth in the first place as compensation. Is this really a clever step ?

Waves no doubt serves a purpose and unfortunately for studios operating, clients more or less expect waves to be part of the protools package. Do studios benefit from having waves on their rigs ? Not really. We certainly have not been able to increase the rates of the studios because we have the waves platinum pack on our rig. All it means is we feel that the better protools rig we have, then hopefully we will be more attractive to clients but in reality the plugins are such a small part of this. At the extremely high rates that waves charge for their plug-ins there is not enough reason for studios to want to buy them. However many feel they are pushed into doing so to stay competitive. It is just yet another expense that gets swallowed up by studios.

Of course waves have to protect their intellectual property in the same way that record companies have to protect there’s, but maybe they should be more competitive in the first place and not charge so much. Or perhaps, god forbid, they should actually offer discounted rates to the commercial recording studios. Lets look at what the recording studio is. It is a hub where numerous engineers and producers travel through the doors and plugins are discussed daily. If waves is on a commercial studios rig, think of how many professionals try those plugins out and then may go out and purchase waves. Studios spread the word and do lots and lots of good for these plugin companies.

I would suggest this is a huge backward step for Waves. At Miloco we have bought waves and I have gone through every method I can to spend as little as possible on the packs (ebay etc etc, buying directly from the States). In the last 5 years we have spent over £ 130,000 on protools at the studios. It has meant we have not had funds to spend money on mics, outboard and other equipment that we would prefer to buy. A few years ago we used to be able to charge for the use of protools but now it is seen as a necessity and the huge costs associated with upgrading these rigs and purchasing plugins means we have no budget left to spend money anywhere else. Does it result in more work - no. With the state of the studio industry and the rates that studios can charge (which seems to be reducing further) more studio owners will just take a decision to close the doors. They certainly are not making money. They feel like they are feeding waves and digidesigns pockets. Has Waves reduced the cost of their plugins in the last 5 years in the same way that recording studios have? Once you have bought the software you then have to pay the extortionate yearly fee to keep up to date on the minor changes introduced each year.

So in summary Waves think they are making a grand stand for the protection of software and intellectual property. However they have attacked the very heart of the recording industry and I think that a lot of people (even those who have bought Waves legally such as us) are now talking negatively about the company. Those studios who have those same producers and engineers travelling through their doors are now discussing Waves’ actions. I imagine all those engineers, producers and studios will all agree that the software is very overpriced and now they like to act in such a covert manner they seem to be really trying to squeeze every bit of money out of studios. It does occur to us that if waves actually charges less for their products then they would actually sell a lot more ! Perhaps then 100% of studios would have waves and in turn many more users would be introduced to the packages and they would sell even more. Loads of studios do not want to be using cracked waves plugins, after all it is hassle but the costs are so prohibitive for many.

Come on guys lets scrap the plugins and use good old hardware again ! That is what studios used to be about and what they should be about….. Sure protools has a place but doesn’t vintage equipment still sound better ? Oh and once you buy a good old compressor there are no more yearly costs to keep it going, just a little bit of TLC. Sure you don’t get new features on an old school compressor but who wants them ? Kind of ironic that waves and other plug-in companies are trying to emulate this stuff. Thankfully they still have a long way to go.

Picture this. It’s cup final day and you are playing. Not only that, but you are also a seriously fly rock star already basking in the glory of your multi-platinum sales and god-like status. We’re in the last three minutes of extra time, it’s 2-2 and the dreaded shoot-out is fast approaching. But then, you pick up the ball in your own half and dribble around the whole opposition, charging towards the enemy’s box, with your finely groomed 4-foot hair and beard blowing gracefully in the breeze. Your aviators block out the thousands of camera flashes beaming around the stadium, and there’s a Cuban dangling from your lips. You’re the official daddy. The girls scream and the guys worship, as you eloquently smash the ball past the keeper into the far corner and claim your hat-trick and winners’ medal. You just couldn’t write this stuff!!

And so to what this is all about.

Miloco’s infamous 5-a-side Football Tournament is returning to Battersea Park on Thursday 12th July. Under the sun’s rays the music industry shall gather to do battle on the turf, whilst off it drink, chat, cheer and jeer. Last year, Donny Tourette and his fellow Towers of London stormed to the Miloco 5-a-side crown, sweeping their opponents aside in every round including the notoriously fierce semi-final dual with grime crew Roll Deep. But the question on everyone’s lips is, who will take the 2007 title, to win a day’s free studio time at one of Miloco’s first-class recording studios?

This is where you come in. We would like to invite you to enter a team into this year’s competition. You’ll need 5 players minimum, hence the concept, however a modest sub’s bench in addition is advised to give you that extra squad depth to see you through to glory!

The top-four finishing teams will be awarded a free day with a professional engineer at one of Miloco’s studios. There will be drinks on the house following the final. Entries are starting to pour in so don’t hang around in getting in touch with your team details.

Think you’ve got what it takes? To enter a team give Richard a call on 020-7232-0008 or email richard@miloco.co.uk. Leave your legacy on the Miloco 5-aside Football Tournament 2007. Remember, you could be heroes, (just for one day)!

Teams who have already entered:

Towers of London (defending champions)
Gilkicker
FX Rentals
679 Records
Gillian Glover Team
Virgin Records
Underground Heroes
Digital Village
Sony BMG Publishing
Stephen Budd Management

Make sure you join the list…

“Oh god, what the hell is Indie Idle?” we hear you mumble. Many of you may also query just quite why we are writing a blog about it. Fair’s fair, a brief explanation might well be beneficial, but I can for now at least, ask the cynics amongst you to zip it, this is a talent contest to be reckoned with…

On Thursday 19 and Friday 20 April, the Camden Crawl comes to town, and with it the first instalment of Indie Idle. In association with Gigwise.com, Camden Crawl have instigated the contest to search out and shine a light on frustratingly unsigned and woefully unknown bands across the UK. And as anyone who has recently happened to pass by the pre-show queues into a Horrors’ gig might have guessed, there are quite a few of the wee nipper-snappers! A panel of experts have been scrapping over practically billions of demo tapes sent in by young hopefuls, and the long nights of necking coffee and pro plus have seen the panel miraculously reduce the once colossal amount of tapes to a mere 20 of the most propelling, fresh guitar music on the block.

At this point the voting public become involved. A vote will determine which ten of the short-listed bands will stay, and which will go. The ten that stay go through to the next round, where they will play on the Thursday of the festival at an official Camden Crawl venue. The elimination process progresses in a fairly conventional fashion, and the finalists play the Friday, where, you’ve guessed it, one band will be crowned the official Indie Idle of 2007.

So where does Miloco come into all this, you wonder? Well having our finger constantly on the pulse enables us to sniff out any inkling of musical activity in the land to see how we might be able to help the cause, no less. We are offering the overall winner of Indie Idle a day’s free studio time to record a professional demo and hence provide a genuine stepping stone in the direction of fame, glamour, riches, hedonism, debauchery, the look on Grandma’s face when she sees her little treasure passed out on the front page of The Mirror five minutes before meeting the PM, whatever takes your fancy. Destiny is in your own hands, or so they say.

The following are the 20 remaining bands in the competition. A special Miloco congratulations to Royal Treatment Plant who were in The Square earlier in March with producer Teo Miller and Miloco engineer Martin Jenkins.

You can listen to a track by each of the twenty bands and then make your vote for the band you think should advance to the next stage, at http://www.gigwise.com/indieidle. Happy voting!

The last 20:

Heads We Dance
The Hartes
Revenue
The Rocks
Mr Bones and the Dreamers
Royal Treatment Plant
The deBretts
One Trick Band
Alphabeater
Friday’s Ghost
Dance Lazarus Dance
35 Seconds
The Clerks
The Sexual Hot Bitches
Under The Kosh!
The Escape
Edelweiss Pirates
Indica Ritual
The Vice
Band(ism)

What better way to drink away your mid-week torment than to do it whilst watching one of Miloco’s magnificently talented clients, we ask? Well that’s exactly what a troop of troopers based at Leroy Street did on Tuesday March 6 at the Islington Academy, where the wonderful Charlotte Hatherley was dazzling a crowd with material off her new album, ‘The Deep Blue’, which was released the day before.

We’ve all been very excited since the summer months when the former Ash guitarist’s creative juices were flowing around The Neve, The Toyshop and The Pool, and the Academy gig justified the hype as she wowed the onlooking audience with potent perfomances of tracks such as ‘Behave’, single ‘I Want You To Know’, and show-stopping number ‘Siberia’, proving once and for all that her unique strand of psychedelic indie pop places her leaps and bounds ahead of any contemporaries ‘within’ the same musical field.

So, if we can persuade you that the above statement of praise wasn’t at all dictated by bias – and would anyone in this day and age of genuine fairness dare think such a thing? – prove us wrong, or preferably right, by heading down to HMV and making a relevant purchase. Or, for those people who are finding themselves increasing glued to a desk chair slowly turning their eye balls into an alarmingly cuboid-esque shape, try that iTunes thing that you keep hearing about. You can also catch a glimpse of Charlotte’s electrifying live show at The Borderline in Soho on 29th March.

For more information on Charlotte Hatherley’s supreme music, forthcoming gigs and general subject matter check out her Myspace page; www.myspace.com/charlottehatherleyofficial. For more information on that iTunes thing as previously mentioned, take a look at Miloco Operations Manager Nick Young’s previous blog on this web page. Whilst you’re at it, take a look at some of the others, and leave a funny / serious / positive / negative / enlightening /depressing (etc.) comment. Don’t be shy…

On the morning of 20 February 2007, a Miloco spokesman announced that the old Harrison Series 10 mixing desk at Muskibox has moved on to pastures new. It seemed to have passed its peak as a player, so we wish it all the best in the remainder of its career playing in the Dutch leagues.

Miloco would also like to announce its latest superstar signing, which has been brought in to replace the Musikbox veteran. Coming from the opposite direction all the way from Holland, the second Neve desk to be added to Miloco’s artillery arrived in Kentish Town on Monday 19 February, thanks to the muscular services of ten dexterous young males who heaved and ho’d the old boy up the stairs and into the transit van, and the new boy out of the transit van and down the stairs.

Tuesday 20 has seen a record Milo Music ‘sickie’ phone-in, with a reported slipped disc, several torn muscles, and most alarmingly, two missing toes! Whilst we wish all sufferers the best in their recoveries, we must state that we expect all to be back at work by the end of the week. The fixture schedule is piling up, besides Miloco management are hoping to unveil their new player imminently, and he’ll need all the support he can get to settle him into his new environment.

So farewell harrison and welcome Neve VR60 !

About a year ago I was invited to a meeting of the APRS (Association of Professional Recording Services). It was called ‘Does anybody want to buy a recording studio?’ and I was anticipating an interesting debate on running recording studios in the current climate.

However, it turned out to be more of a general conversation about the benefits of analogue over Pro Tools - an interesting topic, but not the one we were there to discuss. I listened to the debate with some interest but mainly frustration: there we all were - supposedly the cream of the recording studio industry - and the vast majority of people were utterly demotivated and dispirited. They were also all too happy to direct their wrath and disaffection in just one direction - the iPod generation.

They talked of ‘the good old days’ when analogue ruled and the quality was so much better. They then compared this to ‘today’ where we all still strive to make music sound as amazing as possible, only for to it end up on someone’s iPod or other MP3 device sounding compressed and dreadful.

But I think this is missing the point.

MP3s are for convenience (the age we live in), to capture the vibe of the music and to spread the word. Teenagers listen to MP3s on their phones and say to friends, ‘This is a great track’, and as a result someone else discovers a new album and (hopefully) goes and buys it. This has to be a good thing for everyone involved in the industry.

For my own part, I’ve fully embraced the MP3 generation. Right now, as I write this article, I’m listening to my iTunes collection through my laptop. I love listening to MP3s while at the gym, and at home I have 150 gigabytes of music which I stream wirelessly around the house through various awful compressing apparatus that make the sound invariably worse than most of the CDs that sit on the shelf gathering dust.

So why I have gone down this road? Because to me listening to music is not about the 1/4 db rise on a guitar lick, it’s about the excitement of the bands and the music. If they can deliver an album that sounds good on an MP3, then it’s a good album, end of story. If you listen to the new Killers album the amazing production is not lost due to the fact that it has been horribly compressed, and the songs don’t suffer either. Music is all about vibe and excitement. Isn’t this why the live music scene has done so well this year?

Back at the APRS meeting, there was a suggestion that we needed to educate end-users to not listen to music on MP3s; that their doing so was sabotaging everything professional studios try to do.

But mass users have always listened to music on inferior quality machines! The infamous Walkman’s every whirr and flutter made music sound pretty horrendous, as far as I can remember. And the average listener’s stereo is not of audiophile quality - the speakers are often setup out of phase and then there are terrible buttons like ‘loudness’ and ‘boom’, which don’t enhance any product.

If a record sounds good when it is made, if it is produced well and if the songs are good, then it will still sound good no matter what we listen to it on. So I think studios should stop looking for excuses. iPods and other MP3 players have only enhanced and helped stabilise an ailing music business. At least the youth of today are listening to and feeling music again, rather than assuming music just exists as an accompaniment to video games.

Technology is changing faster and faster, but it’s not to blame for the current woes of the industry. I believe studios are here to make music sound as good as possible, so that by the time the consumer has got their hands on it - no matter the format or media - it still sounds great…

Nick Young
Operations Manager, Miloco studios

Dedicated to the cause of unearthing quality music - yes, even in their leisure time! - a hardy band of Miloco staff descended on V 2006 and came away delightfully happy.

Radiohead? “The best gig ever!” yelped Sophie. “Absolutely bloomin’ stunning!” cried Matt. “Supreme, chicken supreme,” uttered Ferg enigmatically.

Jamie T - our beloved ex-Toyshop studio resident, delivered a barn storming (tent-storming. Ed) set complete with so much tip top dubby hip pop it made spines tingle and feet tap. Young Mr Ben Coupland, Jamie’s recording partner in crime, manned the drums with aplomb and a good time was had by all.

Elsewhere, Divine Comedy delivered a host of hits (with Miloco buddy Tim Weller leathering the snares), Art Brut were superb and Regina Spektor was blooming marvellous.

However, we left Ms Spektor early to go see Beck and that proved a terrible, terrible error. Note: the addition of marionettes does not a quality set make, Mr Beck. Like most people I adore a great deal of the man’s material but his live show was a souless, loveless affair devoid of care or hits. Rapping over a cowbell for twenty minutes? No fanks.

But then along came 100 minutes of pristine top-of-their-game Radiohead and the world was put to rights again.

This weekend = Reading. More reports to follow.

Love&kisses,

x The Miloco Roadshow.

Dear Miloco 5-a-side veterans,

Roll up roll up, for the official match report!

Hope this finds you all well and just about recovered from your extraordinary physical exertions. Here at Miloco Towers the air has been filled with the sound of creaking joints and much groaning but, in time, we’re confident walking will again be possible.

Thanks again to everybody who came and played and laughed and drank. The day was a fabulous success.

To recap:

1st Prize - Towers of London - winning a day in… The Neve VR Room

2nd Prize - Virgin - winning a day in…The Garden

3rd Prize - FX Rentals - winning a day in…The Square

Just follow this link to read the full report on the group stages, feisty semi-finals (Roll Deep Vs. Towers of London - “The Day Genres Collided…”) and the eventual winners.

There are also a cartload of photos of you all in action…

Enjoy the write-up, thanks again and see you all next year!

Miloco 5-a-side 2006

Best wishes,

All@Miloco