From my experience, sharing parts (primarily PDFs) with musicians is tedious. Sure, you can simply generate PDFs from your notation software, attach them to an email and move on. Or sync them to Dropbox. Or send them via one of those FTP-like services (perhaps YouSendIt).
Ho hum. Backup? What, me worry?
The challenge we all face is that the computer hard drive is the most unreliable piece of hardware there is. Sure, SSDs are about to change that but still there is a gamble with storing your precious music in digital form. Heck, there’s a gamble when storing in any medium: paper, CD, DVD or a hard drive.
The best advice I can offer is to have multiple copies of your scores, parts and audio. Not so many that you can’t find stuff when you need it! But it makes sense to have at least the working copies on your work computer, backed up to an external hard drive and also backed up securely on the Internet.
There are many Internet-based services for managing backups. You could quickly search and find a very long list of services. They all have their features and benefits. I strongly encourage you to use something to backup your work.
The risk of losing everything in the event of some natural disaster or even theft greatly outweighs any perceived risk of storing your work on the Internet. Do your homework and make sure that your backup provider is secure and reliable.
At copyist.io we strongly believe that a sound backup is just the beginning. At this point in time, it’s the bare minimum. That’s why we built a very solid foundation for your files. And then took it to the next level by adding convenience and automation features on top of that. Our basic guiding principle is one of figuring out how we can automate as much of the production process as possible. We try to eliminate redundant effort and minimize extra work.
This is exciting! Copyist.io is launching soon! Please visit us at https://copyist.io to check out the latest developments!
I started this project because I was frustrated with the existing ways to share music (primarily PDFs) with musicians. Previously, it’s been a chaotic, manual chore to deal with e-mail attachment, Dropbox and FTP-like services.
It was bad enough just dealing with my own music and the revolving cast of musicians for each gig or session. But add to that, the flow of incoming music for the other projects I’m involved in… Well, it was always a struggle to find, organize and remember to bring music along to gigs.
Why? In this modern day of technology overload, surely there’s a better way. Well…ahem…I think I’ve built it! 🙂
Copyist.io is a secure web site (built with the latest/greatest security tools) where we can save off-site copies of our precious scores, parts and demo audio.
That by itself is a great thing – a backup service that gives you peace of mind that you’ll always have access to your works. But it also organizes and understands the relationships between scores and parts.
And copyist.io also makes it easy to share music with others. It automates e-mail notifications and provides iOS and Android apps so musicians can simply synchronize their music onto their mobile devices.
That last bit might be worth repeating: musicians can simply use our app (on iPhones, iPads or Android devices) and they’re ready for the gig!
That’s just the beginning. I have many more automation features under active development and we look forward to sharing details about those in the near future!
Great! I look forward to serving you!
We’ve recorded a new CD and are preparing for its release in November, 2014! I’m so proud of this new record. It was an incredible experience to make this music with David Cooper, Tim Whalen, Mark Urness and Ernie Adams. They all played with so much heart and intelligence. I hope you enjoy this music – our message to all of you!
I’ve been quite busy of late. One of the things I’ve been working on are several more apps for iPhone, iPod Touch and iPad devices.
The Scale Syllabus app is designed to assist improvising musicians learn their scales and work on applying them over chords. It is a complete study assistant where you can see, hear and play along with all the jazz chords and scales. This app lets you interact with chords and scales in unique ways.
This app transposes for all instruments and includes a play along mode where you can make music over the chord and a metronome.
It is a complete environment for learning jazz scales and chords.
I’m very happy to announce the release of DronePlayer for iPhone, iPad and iPod Touch!
DronePlayer is a fun, interactive practice assistant for improvising musicians. Playing over extended tonalities is a great way to develop your ears as well as your musical ideas.
Long, sustained tones are generally known as drones. Drones have proven themselves quite useful for practicing. Many people use them to assist with intonation. Some enjoy playing scales over them. I personally have found them useful for practicing improvisation and improving my ears.
Muting one of the drone voices is a great way to play with just a fundamental pitch. You can then improvise over this and focus on hearing how what you are playing relates. Adding a second drone voice just adds to the fun.
Rotating DronePlayer to landscape orientation invokes a Drone Sequence mode where you can play evolving tonalities. These are excellent for challenging your improvising skills and having fun while doing so!
Full details with demo videos are at www.tingjing.com/apps/droneplayer. You can find DronePlayer at the App Store http://itunes.apple.com/us/app/droneplayer/id442007897?mt=8.
Trumpeter David Cooper’s blog is really great. Even I, a lowly saxophonist, have enjoyed browsing his musings about trumpet and music. He recently wrote an article about how to approach odd-meter tunes. Since he played on my CD Carswell, he was kind enough to include some propers about that. You can read it here: http://www.allthingstrumpet.com/learning/technique/odd-meter-improv/.
I feel compelled to defend myself and this whole odd-meter “trend” in jazz. I’ve heard a lot of older cats, especially teachers, complaining that today’s students only want to play in odd meters. Basically, they’re saying that the young players aren’t interested in swinging or paying their dues.
I can respect that point of view. We all need to study the tradition. I certainly spent a long time living within the foundations of music by Bird, Diz, Monk, J.J., Sonny, Coltrane, etc.
For me, Carswell and other tunes on that recording are all about “escaping the bonds of Bebop” – specifically, trying to move beyond the musical language from that time.
When I got the gig with J.J. I quickly discovered that no matter how much I might study the Bebop tradition I would never play with the depth that people from that era do. That music evolved within their experience. We, as improvising musicians, must find the music of our time. For me, that’s what this is about.
Here’s a nice, brief writeup about the new CD, Carswell, from Jeff Berkwits over at the Illinois Entertainer. http://illinoisentertainer.com/2010/07/around-hear-july-2010/
“Imagine hanging out late one night at a smoke-stained jazz club like the Green Mill, listening to proficient players enjoying a fun jam session. That’s the intoxicating effect of Carswell, the latest 10-tune recording from sax-man Tom Gullion. While standout numbers include the energetically improvisational “Monkey’s Tale” and the evocative electric piano and flute of “Right On Time,” every cut is consistently captivating.”
Thanks Jeff for the great review. I know how difficult it is to condense thoughts into such a tight space but I think he did an excellent job.
I was also contacted by BRAVA magazine in Madison (a magazine for “women of style and substance”) that they’re recommending Carswell in their August issue. All right! All you “women of style and substance” need Carswell on your iPod. 🙂
Last weekend was incredible! We had a great time performing at Magnus in Madison. The crowd was really great, the staff at Magnus were really kind to us. All good. All very good. 🙂
I am so fortunate to be able to make music with these incredible musicians: Tim Whalen (piano), Mark Urness (bass) and Dane Richeson (drums). But you don’t have to just take my word for it, give these tracks a listen.
Excerpts from Apr 23, 2010:
Excerpts from Apr 24, 2010