16 VISIONS this interview is with Nathan Thompson, the manager of 16 Visions Records TR: What differentiates your label from a major label? Well, for one, 16 Visions Records (www.16visions.com) is sponsored by a not-for-profit company. That means our priority isn't to make a lot of money off of artists, but instead to fulfill our artistic mission statement: to foster cutting edge music that blends East and West by creating top-notch recordings. We want to nurture artists in their long-term creative process, as opposed to making a quick buck off of them. It makes our job more satisfying, and the artistsı career paths more rewarding. TR: What is the most difficult aspect of your job that a typical music fan wouldn't be aware of? Iıd say what is most difficult is creating an excellent recording while honoring the work that is being recorded. What might have been a wonderful piece in a live setting can sound incredibly flat in a recorded medium. "Moon in the Bucket" by Garrett Fisher is the perfect example. What drew us to his work is his unique synthesis of Eastern and Western music; his combination of female vocalists, Japanese Koto (a zither-like instrument), Oboe, Indian Harmonium, and Taiko (Japanese Percussion) ­ you can take a listen at www.16visions.com. When you hear his music live, its quiet, moody emotions can get inside your skin and send chills up your spine. We wanted to recreate this subtle moodiness. However, after the initial recording, the piece sounded monochromatic and dull ­ there were no chills, just yawns. So we went back to square one. Mr. Fisher assisted with the production, and even reworked parts of the score so that the textures stood out on disc. While our focus was to create a great work of art, we ended up with a disc that appeals to a wide audience. TR: How important is it to be in a major market city, for a band and for a label, vs. being in a smaller market? No matter where in the world the artist lives, we encourage, and assist our artists to tour. Although touring is a taxing activity, it can help the artist to grow. TR: What is your favorite label? I donıt know if I have a particular label that is my favorite, as opposed to excellent recordings. 16 Visions sponsors a New Music series which is basically a curated showcase of artists from around the world on a bi-monthly basis. We get a lot of demoıs in the mail from all over the world, and it is quite inspiring how much talent there is out there! TR: How did you get into the music biz? Most everyone who works for 16 Visions is themselves a musician. We understand what itıs like to be on the administrative as well as the creative side. TR: Generally what do you think about the prevalence of mp3s and the whole Napster Phenomenon? Regardless of the ethics of Napster, I donıt think it truly serves the interests of artists. It offers them a glass ceiling through which they see the blue sky. True: anyone can listen to your music. But how are they going to find it? And when they get it, how can the artist be assured that what the listener is hearing is a decent recording? If the artist markets themselves, there is no way to track the results. For this reason, I think MP3.com, which is also an easy way for unknown artists to find exposure, is better. The artist maintains control over their recordings, and can track their listener base. And they even get paid! TR: Do you believe that the "record" is going to become obsolete in favor of structures like the subscription system that some labels are toying with, and how do you think this change in music delivery changes the way the public looks at bands? Technology is always advancing and there will always be new ways to listen to music. Record labels are afraid that theyıre going obsolete. However, 16 Visions is a little different than other labels. Our goal is to foster artists, and we get funding accordingly. What is important to us is not necessarily how the music will be delivered, but instead how the artist will develop. TR: Does music have a significant cultural value that is a necessary element in the survival in a culture like in the US? The United States has it backwards. We put too much emphasis on the dollar. That is why the Major Record Labels are mainly profit driven. They arenıt concerned about quality, but quantity. As a result, the essential vitality of music is devalued. I think, though, there is a gradual shift occurring in the US. People are seeking better lives, and are looking inward. The music of 16 Visions helps people to do that. TR: Do you believe in the theory that every band has to have a hit single in order to make it? It depends on the band ­ some bands develop over a period of time, and donıt really have one hit single. Others have big hit and seem to fade. 16 Visions is more interested in the artistıs trajectory over several periods as opposed to a snapshot of their "sound." TR: Do you believe that the independent music industry is becoming more inclusive or exclusive? I think everything has a shelf life. Often what is cutting edge in the beginning becomes mainstream which in turn becomes exclusive. Right now 16 Visions is small but mighty. Hopefully, if we get larger, weıll be able to change with the times and be flexible to new styles and continue to take risks with cutting edge sounds. Learn more about 16 visions at their website http://www.16visions.com