`Exhibit 121 6
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`Page 00001
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`
`
`the music biz meets the personal computer
`START ME UP!
`
`by Beniomin Krepuck and Rod Firestone
`foreword by Joe Walsh
`
`Page 00002
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`
`START ME UP!
`
`(the music biz meets the personal congauter)
`
`Book Design by Patti Podesta
`Cover graphic by Patti Podesta and David Bleiman
`Illustrations by Marv Newland
`
`Published by Mediac Press
`P.0. Box 3315
`Van Nuys, CA 91407
`(818) 904~0515
`
`1st Printing —- May 1986
`
`Copyright © 1986 by Benjamin Krepack and Rod Firestone
`
`'
`All rights reserved including the right to
`rti
`reproduce this book or
`.
`.
`thereof 1n any form Without written permission from the publish: ans
`Printed in the U.S.A.
`
`ISBN 0-9616446—0-5
`
`Library of Congress Catalogue Card Number: 86-60846
`
`‘7U.——..._.—
`
`Contents
`
`ACKNOWLEDGMENTS viii
`
`FOREWORD BY JOE WALSH ix
`
`INTRODUCTION — ABOUT THIS BOOK xi
`
`CHAPTER 1 —WORKING IN THE OFFICE 1
`Anybody Wanna Buy a Typewriter? 2
`Files at Your Fingertips 6
`Forms and Labels 9
`
`
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`.
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`Connection 1.1 Artist Managers 12
`Connection 1.2 The Record Companies 16
`. Connection 1.3 The Music Publishers 19
`
`CHAPTER 2— STAYING IN TOUCH 23
`Hanging On the Telephone 23
`When Can We Do Lunch? 26
`
`
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`Connection 2.1 Telecommunications in the Office 28
`
`Connection 2.2 The Desktop Concept 30
`
`CHAPTER 3 — TRACKING THE CASH 33
`Specialized Accounting Software for the Music Industry 34
`Off-the-Shelf Small Business Accounting Packages 35
`Off-the-Shelf Database and Spreadsheet Programs 36
`
`
`
`Connection 3.1 Dollars & Sense 38
`Connection 3.2 Finances With Fox Productions 41
`
`V
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`ACKNOWLEDGMENTS
`
`We’d first like to thank everybody who took time out of their
`busy schedules to talk to us about their work, their lives, and
`their computers. We’re particularly indebted to Bobbi Cowan,
`Derek Sutton, and Janet Ritz for their advice, encouragement
`and contacts. We’d also like to express our appreciation to Don
`Singleton, Neil Quateman, and Steve Mendell at IMC, Roger
`Powell of Cherry Lane and Utopia, Perry Leopold at PAN, Tom
`Seufert at Red Wing Studios, Larry Linkin of NAMM, David
`Cooper at Fox Productions, MicroTimes Magazine, and Gerald
`Rafferty.
`(“Bambi Meets Godzilla”), of
`We owe Marv Newland,
`International Rocketship Limited, a load of thanks and kudos for
`the time, talent, and imagination he put into his great drawings
`we’ve used to start up each chapter.
`Of course, our very special thanks go to Joan Welch and
`Julie Weissman for their love, support, patience, and meals.
`Joanie also helped in the editing process and we thank her for
`her time and feedback.
`Finally, thanks to our families and our friends for promising
`to buy this book.
`
`Benjamin Krepack and Rod Firestone
`April 1986
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`to receive and playback the instructions.
`instruments present
`Some keyboards and drum machines have sequencers built-in.
`It’s also possible to add a sequencer on as a separate component.
`With the help of special software it’s even possible to turn a
`personal computer into a sequencer (see CONNECTION 8.2).
`‘
`Having the MIDI technology available in the studio can
`increase the efficiency and productivity of the recording process.
`When using MJDI, there’s no need for microphones, tapes, tape
`machines, or a sound proofed room. The sound of an instrument
`can be changed instantly, the tempo of a performance can be
`changed without effecting the pitch (this is impossible when a
`performance is recorded on tape because of what is known as the
`“chipmunk effect”), and when bouncing down tracks, there’s no
`loss of fidelity.
`A MIDI studio is a great tool for pie-production because it
`provides a method for musicians to re-arrange, edit, and
`otherwise refine their composition, prior to committing anything
`to tape. Many professional recording studios, in fact, are finding
`their more
`traditional, mold-track,
`sound-proofed studios
`becoming less popular and are now adding MDDI rooms to their
`facilities.
`
`
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`
`
`Musicians And Computers
`
`The Future
`
`MIDI is just the beginning of a brave new world in music
`that’s taking shape, and we can only guess about some of the
`developments that lie ahead. The ability to convert any sound
`into digital information, which can then be manipulated by a
`computer, will change the way music is composed, performed,
`recorded, marketed, and enjoyed.
`One exciting development has already been tested by a
`handful of professional musicians involved in a trans-continental
`recording session. In this session,
`two studios, by way of a
`satellite hook-up, made it possible for members of the band to
`record their respective parts while separated by thousands of
`miles. Because of the new technology,
`they were able to
`complete their session almost as if they were sitting in the same
`room.
`
`Sometime in the future, we’ll also be seeing inexpensive
`multitrack digital recorders and studio effects gear made as
`compact and portable as your standard video cassette recorder.
`Once such devices are available, musicians will be able to do
`studio quality recording in their home (or garage) instead of
`spending tens of thousands of dollars to rent a professional
`recording studio. Along with the smaller sizes and cheaper
`prices, we might also get some outrageous features. We may
`soon see the day when a computer can actually correct a singing
`voice. No matter how off-key or horrible a voice is, a computer
`might be able to make digital corrections, giving eve‘rybody a
`chance at music stardom.
`
`Maybe one day, we’ll even have the ability to translate our
`thoughts into MIDI data. We might be able to hum (or think) a
`melody, and it will come out on the instrument of our choice.
`Who knows? There might eventually even be an “intelligent”
`computer that can guess at national
`tastes and trends and
`compose a number one song.
`The way we purchase music may change, too. We may see a
`dial-up service for home computers that we could use to select
`the titles we want. The songs would be downloaded as digital
`information into our home entertainment systems that could play
`them back in perfect fidelity.
`
`126
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`127
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