For as long as TikTok lasts:

For as long as TikTok lasts:
Here’s the statistics for the top 20 countries to have visited this site. Modest growth, but I’ll take what I can get, just like the music I do.
The title says it all
Spotify is one of the least honest companies on the planet, adding is not in their genes. On June 21, they report 32 monthly listeners, but if you add up the listeners in cities, you get 47 listeners. Huh? See the evidence. The count they get is from the country list, which is obviously undercounting the actual listeners.
Just as one example, from the country list, the US has 17 monthly listeners, but the city list counts 32 monthly listeners.
So, do figures lie? Or do liars figure, you tell me.
Update: on June 29, Spotify reports 29 monthly listeners, but if you add up the count of listeners per city, you get 45 listeners. And I’m supposed to believe their reporting of streaming plays? I don’t think so. Spotify can’t even do basic math, while Danny Ek is funding AI.military companies.
Of course, these numbers are all suspect, as before Spotify stopped paying artists unless you got 1,000 streams per year on a song, I had approximately 2500 monthly listeners and a reasonable distribution of sources of those plays. Then, all of a sudden, I stopped getting what Spotify calls “algorithmic playlists”. Because Spotify stopped promoting my songs, my monthly listener count fell into the single digits. This continued for 15-16 months where I had little or no algorythmic playlist streams. Over the past month or so, those playlist streams have been coming back.
I have to believe that the algorithmic playlist decrease is that at the same time Spotify started to promote their own pay to play scam, previously a feature of the third-party ecosystem that grown up around Spotify. You see, you pay these scammers to get your music on a playlist, the playlist supposedly subscribed by humans.
That’s the whole scam, but there’s one hitch. Spotify’s user base went up from 200 million users to 600 million user in less than 2 years. If you think that those 400 million new “users” aren’t mostly bots, then I have a bridge to sell you.
Well, I seem to have settled into getting a monthly listener base of a whole 30-40 listeners since I got more exposure on algorithmic playlists. More listeners identify as female, which is a bump up from before the listener increase. Still a far cry of the listener base of about 250 that I used to have 2021-2023.
Spotify is really a shitty platform. Discovery is almost impossible unless you pay Spotify hundreds of dollars for their promotion. If you use third party promotion services, you risk having your streams classified as fake, getting you banished.
Spotify has a bad actor problem which they don’t seem to want to fix. Their userbase increase several hundred percent over about a two year period. It’s obvious to me that most of these accounts are bots. Major labels use those bots to jazz their streaming numbers and Spotify turns a blind eye to this abuse.
Which is why I direct my fans to platforms not as obnoxious as Spotify, like Amazon Music, Apple Music, Beatport, and YouTube.
Well, I’m still working on new music to post to https://mirlo.space and https://bandwagon.fm, so I decided to post a couple of tunes I did back around the first of the year to work out any bugs/difficulties in the upload process.
Things went pretty well with Mirlo, no huge complaints, but Bandwagon’s process doesn’t allow me to select the file containing the music to upload on any iOS device. I first put out a message on the fediverse explaining my plight, but most people don’t use Apple products. So I went and opened a issue in Bandwagon’s Github. Pate’s only suggestion was to try it from a computer.
What’s a computer? I haven’t had the need to use a computer for at least several months. iOS tools are almost advanced as the ones on my laptop, and they’re a helluva more convenient. What a drag.
So, no, I haven’t cranked up the laptop to see if I can complete to upload there. What a hassle, Bandwagon.
Well, more fiddling with the Yamaha Clavinova CVP-50 Garbage Picking find has revealed that you can set up a rhythm section with harmony. And the harmony, for some reason only uses the piano 1 setting can be expanded to have two voices by splitting the keyboard and selecting a different voice for voice two. And that second voice doesn’t just play the same progression, from what I can tell. So you end up with a pretty creative sound to which you can add a melody to.
Unfortunately, the sound volume of the rhythm/harmony section is much higher than the melody, so you have to tweak the volumes of each of the sections to level things out. I kinda wish the 30 watt speaker system was a little more powerful, but I’ve purchased RCA patch cables so that I can record to both my Zoom H8 handy dandy recorder and my iOS devices. We’ll see how that goes.
And as a side note, here’s a link to the English section of the owners manual: https://www.manua.ls/yamaha/clavinova-cvp-50/manual
And remember to check out the original post and this one periodically as I add content to them. See ya later.
I go out for a walk evenings when the temperature has dropped, and in this part of Vegas trash day is Friday. I occassionaly find goodies left out as trash to use in my found art creations. But last Thursday night I came across a different kind of find, somebody had tossed a Yamaha Clavinova. a CVP-50 to be exact. So I got my handtruck and proceeded to haul it home. Damn, it weights a ton. I guess Yamaha finally learned how to cut the weight in later models, but I’m guessing its 125-150 pounds. My back still hurts from lifting and hauling it around.
Then I dug up a copy of the manual on the internet to see what was state-of-the-art Clavinova in 1989. Turns out this model is roughly as powerful as Yamaha’s cheapo models now, with one gent basically telling people to spend no more than $200 for one. It does have features that newer models don’t have, like a 30 watt per channel sound system. But basically its a 16 voice polyphony, with a selection of 22 voices and a drum section “synthesizer”.
It also has a rhythm section with 31 selections and a variation button. On top of these 31 selections of popular rhythms, you can also record a maximum of 10 rhythms of your own choosing. I think you store these 10 rhythms to the floppy drive (remember, this is 1989 tech), though it may store them in memory because there’s a warning if you store stuff in the Clavinova, turn it on every couple of days as that’s how long the memory persists without power.
Now for the negatives. Every E key makes no sound, as well as all the A# keys. And one of the black keys sticks, so if I want a fully functioning instrument, it apparently means a teardown.
More on Music; been fooling around with the Nervous Keys preset on my Arturia Microfreak lately. I kinda like the sounds it makes and I’m trying to find a drone sound to use with it. The gear that I’m experimenting with includes the Moog Mother-32 and the Moog Mavis. We’ll see how things go.
The new music that I’m working on I’m planning to upload to platforms I haven’t used before, Mirlo and bandwagon.fm. They’re platforms built to enable artists to keep more of the money generated from customer purchases. And as an extra benefit, no AI training from your music. The plan is to emulate SoundCloud and Bandcamp.
I’m working on some new material that I want to post to Mirlo.space and bandwagon.fm. Haven’t decided whether I’ll post the same music both places, or whether I’ll do a little of each separately.