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Two problems related to Burst in the November issue of Mix Magazine :

1. This month’s Sound For Picture section is titled Creative on Demand : Composers Reap Benefits From Production Music Libraries and, in our not-so-humble opinion, misleads their readers as to who’s responsible for the stature of FirstCom’s Velocity Music Library (through the beginning of this year, that would have been us).

2. The Track Sheet column for the Midwest region falsely credits us with recording “Chester French’s first release.” We did record overdubs for their Star Trak debut, but that’s it.

So Mix gave us credit where we didn’t deserve it, and didn’t credit us where we did (though a case could be made that they were getting their information on Velocity from FirstCom or the new producers of the library, in which case we’ll take this opportunity to set the record straight).

In addition to stubbornly adding to our extensive library of reference music here at Burst HQ (see pic above… we still buy CDs, can you believe it?!), we’ve been quietly adding new production music to our library of available tracks here at Burst Labs.

Mercedes-Benz has unveiled their new mnemonic, hoping to follow in the gilded footsteps of other companies with ubiquitous sonic identities such as Intel (the Pentium signature was composed by Musikvergnuegen), NBC’s chimes (their classic three-note audio signature actually started as a live bell performance on their radio broadcasts), and the slightly-more-annoying-but-still-effective Zoom Zoom for Mazda.

We love PASTE. Always have. We’ve even advertised in their pages back when we were spending a little more time - and a lot more money - on our record label (we’re a little busy with our other endeavors right now).

They even dug Julie Moffitt (a Burst Records artist) earlier this year… her song Let Him Be was selected by PASTE editors to be featured alongside Lucinda Williams and The Shins on CD in their Feb 07 issue.

So… two cool bits of news today from our favorite music mag :

As has been previously noted, I have a borderline-unhealthy predilection towards toy instruments. I scour thrift stores, search Ebay obsessively, and hit up Craigslist every day.

However, since my wife and I bought our first house, the pile of farthings available for vintage Casiotone purchases has dwindled to nothing.

Luckily, there is a man that I can live vicariously through. His name is Eric, he lives in Germany, and he has what I consider to be the coolest collection of vintage electronic noise-makers in the world. Not the most extensive, mind you, but undoubtedly the coolest. Sometimes, when I’m looking longingly up at the stars, I wonder it he’s looking up at the same stars (or rather, the blue sky where the stars are going to be in 8 hours). In a totally platonic, “hug-you-and-hit-you” sort of way.

One of our favorite unsigned bands, The Real Efforts Of Real People, is comprised of two talented musicians and good people, Ben West and Kristopher Pooley.

Both have a list of credits a mile long, are touring with pop artists we know you’ve heard of (Pooley is currently the Musical Director and Keyboardist for Gwen Stefani), and they’ve created some of the vibiest and chill new music that we’ve been fortunate enough to represent for commercial licensing opportunities at Burst Labs [check out their library of music here].

We’ve been so swamped producing music for our catalog updates that we blanked on letting you all know there’s an article and in depth interview with Kristopher in last month’s Keyboard Magazine.

If you listen closely, you can hear the muffled screams of entitled assholes everywhere.

For those of you that were not aware, OiNK was an invite-only illegal file-sharing website with 180,000 users, who retained membership by either maintaining an equal upload-to-download ratio or by using PayPal to send “donations.” The OiNK music library was arguably the most extensive ever collected, and was notorious for having pre-releases of albums months ahead of time. It was also a watering hole for arrogant music snobs who sniffed at the idea of paying for anything, ever.

The apartment of the owner in Middlesbrough, England was raided Tuesday morning, and a foreboding message was posted on the homepage.

Halloween is almost here, and though we know most of you have wrapped up your ghoulish productions a while back, there are more than a few of you who are finding our site this week by searching for Halloween Production Music and Sound Effects.

Most of those searches also, of course, include the word ‘free’ among the search terms… while we’re not a ‘royalty-free music library,’ nor do we typically offer our music without sync fees (though we do for certain clients - check our FAQ), we always appreciate people stopping by and checking out our music and sound design.

The Gravity Music Library is getting re-energized and we’re just putting the finishing touches on the next couple of releases in the catalog.

It’s been a crazy month here at Burst HQ as we’ve zipped back and forth between dramatic trip hop and energetic rock, from tracks that relax to music that kicks your ass. Diversity + Quality… just how we like it.

As a followup to our previous post on the new Gravity, here are some selected production music cues to give you an idea of what to expect with the next few volumes from The Burst Collective :

Burst Labs tries desperately to buy some underground cred by loosely co-sponsoring Temulent (a.k.a. Judson F Snell a.k.a. Stinky Fistervitz) at When Worlds Collide, an entire night of hardcore electronic music in Detroit, MI.

A longtime co-conspirator (dude wrote tracks for the second Gravity Music Library disc, don’tchakno…), Temulent name-drops Burst on a don’t-call-it-a-rave-it’s-an-unlicensed-event-with-drugs-and-loud-electronic-music-party flier.

Why? Because we pay him and his own label does not.

If you’re near Detroit and wanna experience some aural needling, be sure to drop in on November 10th. [dh]