Topping 3000 listens

Ba Ren Chi’s music on Jamendo topped three thousand listens a couple of days ago, which makes me happy. This since I first started making it available in October of last year, so about six months overall. It comprises the album Cool 7, a remastered version of Meaner Than That and then the singles Oni Daiko, Too Cool, Lontan Da, and Da Levante. Then another fifty or so listens on the various LANDR-connected services (like Tidal and Spotify), where the biggest number of plays have been through Youtube Music and they’ve happened in twenty-one countries, with Peru having the most listens in one place (hola peruanos!).

I’ve got more coming, but other projects have been pressing, so it’ll probably be another couple of months before I finish the second album. Shooting for summer.

2000 listens

I’m very pleased that Ba Ren Chi’s music on Jamendo has close to 2,100 listens at this point, only a few months after the first release back in October of 2020. By far the favorite piece so far, according to the stats, is Lalo Sí with a little over 700 listens on its own. That’s great, and I’m pleased the song has resonated with so many people.

But I’m not as pleased when I re-listen to it now, some fifteen years after first creating it. I hear too prominently what one music blogger reminded me of: it sounds like a midi track. Well, that’s because it IS a midi track, but that’s also only part of the reason the sound sticks out today. It’s also because I made it fifteen years ago, and a lot has changed since then in terms of playback. By comparison, more recent pieces, such as Da Levante or Oni Daiko, which are in fact no less midi than Lalo Sí, sound so much better, so much more natural, that they almost don’t even appear to have come from the same place.

Unfortunately, I no longer have access to the original Finale files I used to create Lalo Sí. They are too old for me to update, it seems. Either I’ll have to re-compose the whole piece, or I’ll need to re-mix it using updated sections and an overall re-mastered score. This is possible, I know, but it’s not something I’ve spent enough time with to really do well, at least not yet. At this point, I’m re-composing individual sections and using Soundtrap to mix them in. Landr is also helping me with mastering and, as of a week ago, distribution (one can now find Ba Ren Chi’s music on iTunes, Tidal, Deezer, Spotify, and occasionally elsewhere). This process is slow but not unenjoyable. The tech has changed so much over the years. It is still fun because every little thing is about learning something new.