Yesterday I wrote an article about Small Colin’s new release ‘Tape Productions’ for the new Stadtrevue Blog, where from now on I will post reviews and netaudio snippets in addition to the montly (print) column. Colin Sweeney, the person behind Small Colin, was kind enough to give me a short interview with regard to open questions I had while researching for the article.
As usual, here’s the full interview, including links to Colin’s earlier releases.
I had some problems researching your discography … how many (digital) albums, ep’s, singles on which lables have been released with your music?
Under the artist name, Small Colin I have released 3 official ep’s and now 1 album (all digital only):
“Retro Masters” was released 2011 by rec72.
“Mutations EP” was released Jan 2013 again by rec72.
“Tape Productions“, March 2013 on Rec72.
Please describe the production process of ‘Tape productions’ in just some sentences. You produced and arranged on a computer and then mastered to a (standard) C 90 cassette deck? Or did you work with a four track recorder?
I usually work exclusively with Ableton Live but this time I decided to try & record using tape alongside my computer (like when I used to work with a 4 track Tascam recorder). I still recorded into a computer but I also re-recorded every instrument stem out to an old cassette tape then recorded back to the computer again. Then as you say, I bounced out the mastered version to the same C90 tape. Then of course back to the computer once more for creating the mp3′s. It was a long process but also very rewarding (Also, I love the sound of tape hiss).
You extensively use Creative Commons licenses. What does legal sharing of your music mean to you?
For me its an excellent, fast & easy way to get my music out there for other people to hear and hopefully enjoy.
Is CC just an easy way of licensing and promoting your music or does it mean more to you?
I think it gives many people a chance to get their work heard/seen. It also opens up a huge world of accessible music/film for artists to collaborate with others (maybe who didn’t know anyone or couldn’t afford to work with others.) So it can only be good thing I think.
In just a few sentences – how would you describe the status quo of Netaudio or resp. ‘free music’?
I think its great in the way that I can go online right now and find literally hours & hours of good, new music I probably would never, ever find otherwise. There is also a lot of bad stuff out there too. Although that in itself is fun too as like we used to do when browsing for music in a record shop, for every good record you found, there will be at least 5 bad ones there as well.
Many thanks for the interview, Colin!