We are delighted to be part of Ireland’s Annual Showcase Festival & Conference for New Music & Digital HARD WORKING CLASS HEROES 2013. We have our very own stage at The Button Factory this year so its going to be a cracking one.
45sound stage at Button Factory
|45sound Stage at The Button Factory|
|8.00 – 8.30||Plutonic Dust||8.00 – 8.30||Wild Promises||8.00 – 8.30||DOGS|
|8.40 – 9.10||Elaine Mai||8.40 – 9.10||The Late David Turpin||8.40 – 9.10||Benny Smiles|
|9.20 – 9.50||Anderson||9.20 – 9.50||I Have a Tribe||9.20 – 9.50||Ships|
|10.00 – 10.30||Hozier||10.00 – 10.30||Funeral Suits||10.00 – 10.30||Sleep Thieves|
Box office will be in Filmbase, Curved St from 3rd October until 5th October.
What do you get for your hard earned cash?
For the fabulously slim sum of €45 (plus fees) you get to go to all 3 days and nights of the festival. Elbow your way to the front of any of the 100 gigs all over town. Go to all the conventions, hurl questions at our panel guests, join in on workshops,.It’s like getting your own key to the city.
If a weekend pass isn’t your thing then they’ve got daily/nightly tickets. €20 (plus fees) will get you access to see all the bands playing at all 7 venues that night, plus convention programming taking place on that specific day.
Who’s playing where and when?
Direct your mouse to www.hwch.net for all details. There is a great schedule there which gives you the scoop on who’s going to be playing where so you can plan out your weekend.
Team 45sound headed to Oxegen 2013 for DJ John Gibbons Power tour. Fans are using 45sound to create the official video for ‘Feelings’ and we headed along to be part of the action.
Upload any footage you got on the day right here – https://45sound.com/shows/418-dj-john-gibbons-oxegen-punchestown-4-8-2013
On the first of June 45sound were featured on BBC Click. The performance we covered was of Matt Cardle and you can see the footage from that gig via this link: http://www.youtube.com/watch?v=-uy1Uq…
An interesting read by Dave Lee, Technology reporter with BBC News from 11 April 2013
Ugly scenes? Fans of Bring Me The Horizon film vocalist Oli Sykes on their smartphones and cameras. As fans filed into Webster Hall in New York City last week, a note from indie rock band the Yeah Yeah Yeahs wasted no syllables in laying down the law. “Please do not watch the show through a screen on your smart device/camera,” it said, along with some stronger words unrepeatable here.
During the gig, vocalist Karen O repeated the request, telling fans to take a picture right at that moment – but to then keep devices hidden for the good of those around them. On the web, news of the band’s defiance against the march of the amateur filmmaker spread – and was met with whoops of delight from many music fans fed up with seeing mobiles thrust into their line of sight at every public event. Many of them longed for the days when the only thing illuminating the crowd at a packed gig would be a sea of cigarette lighters, held aloft during the more tender moments – and not, as is now more often the case, the glow of the mobile phone. “I would never turn on a cell phone at any musical event,” wrote Roger Waters, former bassist and vocalist for Pink Floyd.
“People behind you are like ‘put your phone down we can’t see’”
Bring Me The Horizon fan. “It would seem to me to show a lack of respect to and care for fellow concert goers, or for that matter the artist. “Apart from anything else, how could I possibly truly experience the thing I’d paid to see and hear, if I was fiddling with an iPhone, filming or twittering or chatting or whatever?” ‘Weak and distorted’
To make matters worse, the type of footage recorded at gigs tends to have, as one Guardian journalist put it this week, “audio quality that would make Simon and Garfunkel sound like Slayer”. Sophisticated as it may be, your smartphone’s microphone is only capable of capturing anything and everything immediately around it. But one company emerging from Dublin’s blossoming start-up scene thinks it has the answer – and appears to have record labels on its side. “What our unique proprietary technology is able to do is take the poor quality on-camera audio from fan videos, and we analyse that and can see the patterns, even though it’s very weak and distorted,” explains Cathal Furey, co-founder of the firm, 45sound.
“The technology takes those patterns and matches it against what we call a master audio recording, which would be a professional live audio recording [from the same gig].”
This clip shows original gig footage shot by a fan at a Deap Vally gig, and then the same clip with fixed audio provided by 45sound. From here, clips are re-uploaded with the high-quality audio, and in cases where there’s more than one recording of the same moment, fans watching the gig on 45sound can switch camera angles. In recent years, several sites have sought to make use of the swathes of fan footage recorded on a nightly basis. Apps such as Vyclone have been used by the likes of Ed Sheeran to “crowdsource” gig footage, with fans being encouraged to upload their recordings of Ed for it then to be edited together for the official music video. Another start-up, OutListen, gathers fan videos and, if there’s sufficient interest, will go to record labels after a big show and request the professionally recorded audio.
“When we did it in Leeds the other day it was almost like it got it out of everyone’s system. “Everyone filmed the song, and then everyone put [their cameras] down and everyone got back into it so it was cool.”‘Put your phone down’. Meanwhile, in the shivering cold outside the venue, Bring Me The Horizon’s fans are divided in their views of gig etiquette. “People behind you are like ‘put your phone down we can’t see’,” says one female fan. “I think people kind of like just want to just get into it without standing around with your arm in the air all the time filming.”
Another fan, male, has more enthusiasm towards the web’s possibilities. “It’s always good when people film it, you can go on YouTube and see it, and relive it, and see all the people in the comments talking about it – you can make more friends with that as well.”
Comedian Marcus Brigstocke and Graham Lambert, from Inspiral Carpets on phones at gigs. For record companies like RCA Records, it’s a situation that requires delicate compromise, says Mr Cross. “From a label perspective, and my perspective as a fan, it’s something that’s just part of a gig now, you can’t get away from it. “On one side of things, it can be quite annoying for the fan that isn’t into doing this, but on the other side it’s helping to push the band.” But 45sound’s Mr Furey argues some events are just too good not to be widely shared. “I can definitely see that having a sea of cameras can ruin the experience. Ultimately the most important person is the person who pays for a ticket to go and see the show. “At the same time, I’ve been at other events where my first reaction is ‘who’s videoing this?’. Live music shows are an incredible human event – they’re very tribal, very powerful, very emotional.” So while the Yeah Yeah Yeahs join a select group of grumblers that includes the likes of Jarvis Cocker, Jack White and the Stone Roses – it is likely that the “sea of cameras” is here to stay, and not just at gigs. “I have that problem in general life myself,” reflects Bring Me The Horizon’s Mr Sykes. “I find a lot of people are documenting too much stuff… rather than just living it.”
About the video:
Cathal Furey on 45sound, which developed technology to create high quality music videos from crowdsourced fan concert footage. Watch this video and join the conversation at tvo.org/pull. Part of the series Pull: How Technology is Changing the Conversation.
We have had some great coverage in the last few months. Throw back Friday today with some editorial from JJ Worrall.
J J wrote the following in The Irish Times:
In the midst of the enormous burst of noise created by Belfast band And So I Watch You From Afar during their Whelan’s gig in November 2010, 45sound founder and chief executive officer Cathal Furey (below) had a lightbulb moment.
Recording professional footage of the show alongside the band’s live engineer, Andy Coles, he realised “Half of the crowd were also filming with their own phones and cameras, and their footage would be every bit as good as our crew videos if they had proper audio.”
Furey had recently begun filming gigs while volunteering as a producer with the Galway Arts Festival, and the former multimedia lecturer says this experience made him realise “good-quality audio recording is the most important part of web video”.
After the ASIWYFA show, he sat down and began to think about just how he could provide greater audio performance for gig-goers determined to record footage on their phones.
“I haven’t really stopped thinking about 45sound since,” he says.
A few months later, he met digital audio experts Dan Barry and Mikel Gainza who saw something in his idea. The pair were able to work with some of Furey’s sample videos and master audio recordings to help develop the concept further and the resultant “audio matching system” that was created became the basis of the 45sound product.
The trio then tested a “very bare-bones system” at the 2011 Hard Working Class Heroes festival in Dublin before going live with a beta version in February 2012.
The following month, they received a massive boost when their efforts were recognised by the globally respected Austin, Texas-based South by SouthWest (SXSW) festival where 45sound was a runner-up in the “music accelerator” competition.
“Fans love to use YouTube for discovering new bands, and the bands love the idea of the videos their fans upload sounding like they should,” explains Furey. “Our audio-matching technology means that fans can upload almost any type of video camera from a show, from pro-level DSLR cameras to older mobile phones.”
All told, since its launch, 45sound’s audio-matching system has been tested during “two hundred shows in 14 countries across three continents” to continually improve the sound quality.
A mobile app was also created, with the team working alongside DIT lecturer and TunePal app creator Bryan Duggan to get it to market.
Funding-wise, the company has been “boot strapped” by support from Enterprise Ireland. And a private investor is set to come on board in the coming months.
Furey says that, having “reached the point where we now have a product that solves a pressing problem for the music industry”, revenue is starting to grow and they should be profitable “within months”.
The company has teamed up with the Meteor Choice Music Prize.
Furey says: “Basically people . . . can simply record footage of full songs or clips of a minimum length of 45 seconds. The next day, they upload the video to the 45sound platform.”
From there, they “layer high-quality audio of the corresponding tracks on top to replace the usual clamour of the crowd”.
“The result,” says Furey, “is high-quality, polished video, not created by a professional, but by a regular punter. We also weave together select clips of the fan-generated footage to create multi-angle edits.” Meteor offered cash prizes for those using the 45sound service and uploading their videos.
Furey and the 45sound team are now back in Austin for this year’s SXSW festival to meet US music industry executives to talk about the technology. And they are also in discussion for link-ups with “some major festivals and tours” this summer.
“Crowd-sourced video made easy is a massive worldwide opportunity,” says the company founder. “And we’re planning to reinvest our profits to keep growing the company aggressively. ”