Como Equilibrar Família, Carreira Musical E O Seu Stress

How To Balance A Family, Your Music Career, And Your Stresses

Written by Stan Popovich 


It can be difficult for adults to have to take care of their families and manage their music careers. This can cause a lot of stress and anxiety. As a result, here are a few steps in how to do take care of your family and your music career without getting stressed.

Try to set goals for yourself when you manage your family or career. When you go to work each day, try to set some goals for you to accomplish. For instance, let’s say your goal for today is to finish the report that your boss wants. At the end of the day, you will feel better about yourself knowing that you were able to finish that report. When you accomplish these smaller goals, you will feel happier, more confident, and less stressed.

Delegate part of your responsibilities. When taking care of the family, get your spouse to help out. If your kids are older, get them to assist you. If you are at work, only take on what you can handle. Don’t try to do everything all at once. Learn to delegate and work with other people.
If you try to do everything, you will get stressed and anxious. A person can only do so much in a given day. Do not everything. Learn to manage your responsibilities. If you feel like your doing too much, then take a break and evaluate your situation.

Try to do things in terms of their importance. Let’s say that you have to clean the living room, go to the supermarket, and wash the dishes. Go to the supermarket since this is the most important thing that needs done. Do the other two tasks later on. Determine what needs done right now and do those particular tasks in order of importance.

Managing your family and career does not have to very stressful. Learn to budget your time and manage your tasks. Eventually, you will be able to balance your career and family. If you still have trouble, then talk to a professional who can give you additional advice.

About the Author:
Stan Popovich is the author of "A Layman's Guide to Managing Fear Using Psychology, Christianity and Non Resistant Methods" - an easy to read book that presents a general overview of techniques that are effective in managing persistent fears and anxieties. For additional information go to:  http://www.managingfear.com

De Acordo Com Analistas De Wall Street, A Indústria Da Música Está Prestes A Ter Uma Grande Reviravolta

The reason why the music industry is about to have a big turnaround, according to Wall Street analysts

Morgan Stanley thinks music streaming subscriptions are the real deal, and it's predicting steady growth for the music industry on the backs of companies like Spotify and Apple Music.

"We estimate that industrywide subscription streaming spending grew nearly 50% in 2015 in the US, and has climbed to ~15% of industry recorded music revenue," Morgan Stanley analysts Benjamin Swinburne and Ryan Fiftal wrote in a note on Monday. And this growth will be the savior of the music industry, which grew for ~2.5% in 2015, according to the analysts.

"We think that after years of stalled growth, the music industry has found its growth strategy — subscription on-demand," the analysts say.

This outlook is buoyed by the fact that new launches, such as Apple Music and Tidal, have driven more consumer adoption instead of cannibalization of existing services, according to the analysts. That gives the analysts hope for the coming launch of Pandora's on-demand service, which they are very optimistic about.

Here is what Morgan Stanley predicts for the future of music industry revenues:

Morgan Stanley

Another point the analysts make is that the growth of streaming music revenue far outstripped losses from digital downloads, which many industry analysts believe are on their way to total extinction.

Morgan Stanley

Conheça Um Empreendedor Que Esta Trazendo Inovação Para A Música Clássica

Meet An Entrepreneur Bringing Innovation To Classical Music

First of all thanks to Christina Wallace

for this article.

I’ve spent my entire life in classical music — 15 years of piano lessons, six years of cello, 24 years of singing with choirs, a handful of playing with orchestras, boarding school at Interlochen Arts Academy, a music minor at Emory University, a job as a church musician, gigs for weddings and funerals, and two years in arts management at the Metropolitan Opera. You could say that I have been fully indoctrinated both as a musician and as a manager. And for as long as I can remember there were two truths about classical music:

1. Audiences are getting grayer and young people just don’t like the genre, so at some point classical music in the US might just die out.
2. It is a serious thing, and as such, requires listening with reverence in dark concert halls while obeying all of the unspoken rules like clapping between pieces but not between movements within pieces.

As a young person who loved classical music I never quite believed the first truth (but hey, I love math too, and you won’t find that many people who feel similarly, so maybe I was just weird?). And the second truth seemed like the community was insisting on rules and practices that created an unreasonably high barrier to entry for novices who wanted to experience something new.

So when I was introduced to Chad Goodman through a mutual arts-and-tech friend I was excited to see someone disproving the first truth by throwing out the second altogether. As the founder of Elevate Ensemble, Chad has taken his classical training as a professional trumpet player and combined it with the entrepreneurial spirit of San Francisco, where he moved in 2011 for grad school at SF State. The result is a truly innovative approach to building and sustaining an arts nonprofit that many larger organisations (as well as any startup that is trying to think diagonally about innovation) might want to take a look at.

hristina Wallace: Why did you found Elevate?

Chad Goodman: I founded Elevate Ensemble in 2014 with the desire to reimagine the classical music experience: who it’s for, where it happens, what it means, and how it’s done. Elevate is a flexible music ensemble, a kind of pop-up orchestra, that can easily pick up and go where it pleases, giving more people the opportunity to experience live performances of the music we love so much.

We collaborate with other local artists, including poets, chefs and photographers . Some people may show up to one of our events for the poet or chef, others to support the music, but everyone leaves with a new, shared appreciation for the wild and beautiful local creative arts scene we have in San Francisco.

The venues we use always rotate: a state-of-the-art concert hall like the Sol Joseph Recital Hall at the San Francisco Conservatory of Music for one show, a private home the next. (Our inaugural show was performed at a yoga studio.)

Wallace: How many events do you do per year and what kind of turnout do you see?

Goodman: We just wrapped up our second season which consisted of 7 events in addition to a semester-long residency at San Francisco State University. Sold out shows were performed in concert halls, art galleries, and even private homes. Our average audience size is 100, though we’ve had audiences twice that size.

Our house shows blur the line between “concert” and “party.” At the last one, guests enjoyed a brunch bites menu prepared by rising chef Eric Chow of The Perennial. Short sets of music featuring underrated gems from composers of the past like Gustav Holst and Ivor Gurney were presented alongside new works from Bay Area composers like Julie Barwick and Nicolas Lell Benavides. Once a set ended, another round of food and drink came flying out the kitchen. The intermissions that took place between sets provided plenty of time for the audience and performers to hang out and discuss the music they just experienced.

Elevate Ensemble house concert (Credit: Steve Castles)

Wallace: Why commission new work? 

Goodman:  Commissioning and promoting new work is vital to the success of classical music because it is the music of our time. Orchestras will never stop performing the works of the masters like Beethoven, Brahms and Stravinsky, but we need our audiences to realize that there are people out there just like them, who happen to be expressing their experiences of the present day through music.

I’m proud to say that every Elevate show includes at least one world-premiere commission. It is a truly thrilling experience. The composers are in attendance at each premiere to chat with the audience about topics like their inspirations for the piece, the compositional process and the challenges faced when writing the piece, which creates a memorable experience for the concertgoers. 

Wallace: Was there a big “aha!” moment when the unique elements of your model clicked in place (or, in the parlance of the tech world – you reached product/market fit)? 

Goodman: The big “aha!” moment came around our third or fourth show, when I started to recognize many of the faces in the audience as repeat concertgoers. Elevate was building a loyal fanbase mostly comprised of millennials. Many of these people were coming up to me after shows and saying that until now, they had never thought that classical music was for them or that they hadn’t been to a classical music concert since their elementary school field trip. 

Connecting with a young audience is exciting, but connecting with a young audience that has avoided classical music their entire lives is beyond cool.

VINIL - Passo-A-Passo Como Reeditar Um Album De Jazz Da Blue Note

How to remake a Blue Note jazz album in pictures

A box containing the original master tape of a 1960 album, Lee-way by jazz trumpeter Lee Morgan, sits on the mixing board at Kevin Gray’s Coherent Audio studio.

A box containing the original master tapes of various artists on Blue Note Records at Coherent.

The ‘mother stamper’ is produced at the record pressing plant.

A lacquer master is plated at the record pressing plant, Record Technology Inc.

Plating supervisor Dorin Sauerbier separates the stamper from the mother.

A view of the separated stamper and mother.

Jorge Rocha trims the stamper.

The PVC pellets that go into making a vinyl album.

A stamper at the plant.

Blue Note labels being fixed to discs.

Maria Gamino quality checks an album before placing it in a sleeve.

Rick Hashimoto files away a stamper at the record pressing plant.

The cover for guitarist Grant Green’s album Matador is prepared for press at Stoughton Printing, which prints the jackets for Music Matters.

Alex Diaz places a Wayne Shorter album in its outer sleeve to be sealed. Silvia Garcia fabricates the jackets for the Herbie Hancock album Empyrean Isles at Stoughton Printing.

Copies of Soul Station being cleaned before shipping. Adam Webb prepares to play Dexter Gordon’s album Go in the quality control room. 

                                      

A copy of Go on the quality control room’s shelves. Albums line the shelves in the quality control room.

The gatefold of John Coltrane’s classic album Blue Train. Photography by Brian Cahn

Minha Trilha Sonora Para o Teaser Do Filme The Last Of Us

My Soundtrack for "The Last Of Us" Film Teaser

Hello I made this soundtrack a long time when a customer asked me some ideas for a theme based on the video game "The Last Of Us".  See the teaser below.

As the project was on standby I kept the music. When I heard that the film based on the video game will be released in 2016 I decided to make the sound track to put in the teaser.

Any comments are welcome

Black Medal Band - Clip I'm Grow - Gravado No Power Field Studio - Vejam o Clip!

Black Medal Band - Clip I'm Grow - Recorded ar Power Field Studio

Hello everyone, I think you all know that I have my own studio so it's natural that I have my band, Black Medal.

The band has two members, Eduardo "Duda" Silva plays all the guitars and does most of the songs and I, Bruno Cantinho I play drums and do the all the lyrics.

This song has had two versions, that you guys will see in the clip below was the last one. As Duda and I liked a very heavy sound we decided to change a bit the sound of guitars and drums, the vocals continued the same without changes.

Duda was in charge of doing the mixes and mastering, I took care more, as sound engineer, recording drums, vocals and bass.

This is a one of four songs from our EP "Bring Me The Medal"

If you want to know more about my studio and on my band check our page on Facebook - Black Medal and my studio page Power Field Studio.

Soon I will be publishing another song from our Band.

See you.

As Diferentes Fontes Para Pagamento De Royalties

The Different Sources Of Publishing Royalties

first of all thanks to my friend BOBBY OWSINSKI 

Regardless of the era, the songwriter and publisher have made money, and continue to make money in three primary ways: 

1. Mechanical royalties are paid whenever a song is digitally downloaded, a song is streamed from an on-demand service, or a physical CD or vinyl record is sold.

2. A performance royalty is paid whenever a song is played on radio, on television, or streamed over the Internet. 

3. A synchronization fee is paid when music is used against picture.

This payment mechanism hasn’t really changed all that much in Music 4.1 from previous music eras, although it’s managed to become even more complicated than it was. What has changed is that during this period in which music sales are far less than half of what they were at their peak, publishing is the one area of the music industry that has held its own. How does that happen when sales, and therefore mechanical royalties, are down, you ask? 

While it’s true that mechanical royalties are not nearly what they used to be now that CD sales are so low and downloads have decreased, they’re offset by the tremendous increase in performance royalties because music is now played on so many more broadcasts than before. The 500-channel cable and satellite television universe, along with satellite and Internet radio, provides more opportunities for music to be played, and as a result, more performance royalties are generated. 

That said, music publishing income is derived from more sources than you think, and while some of it doesn’t appear significant by itself, it can all add up to a nice royalty check. Here’s an excerpt of a chart from the latest edition of my Music 4.1 book that shows a simple breakdown of when publishing royalties occur, how it’s collected, and the royalty rate.

As you can see, many of the royalties and fees are variable. Synchronization fees consist of an upfront fee which is usually negotiated by the publisher, and a performance royalty whenever the piece containing the music airs on television.

With a movie, the upfront fee is the only one that’s paid for any showings in the theater, but a performance royalty is paid whenever the movie is played on television afterwards.

Likewise, both printed sheet music and digital use of sheet music or lyrics are subject to negotiation. Ringtones are still a source of income not to be overlooked even though the market for them is far below what it was during their peak.

Publishing royalties come from more places than you think, but the rates are different over a wide range of scenarios, which makes it a very complicated subject.

Os Vídeos Mais Vistos No Facebook Sem Som!

Most Facebook Videos Listened To With No Sound

First of all thanks to my friend 

 Bobby Owsinski

Many artists and bands have been switching their music videos from YouTube to Facebook lately because of the increase in viewership, but it turns out the viewership numbers might be a big mirage. Facebook videos are said to be getting close to 8 billion views per day on its platform, but that number is in dispute.

First of all, the way a view is measured is very different between both platforms. On YouTube, a viewer has to watch for 31 seconds to be registered as a view. Facebook is way different in that a view is calculated after 3 seconds, but an even bigger factor is that the audio may be muted during the view time and will still be counted as a view.

It turns out that 85% of Facebook video views happen with the sound off, according to multiple publishers. Of course, this a major problem for an artist that’s using a video as the means to get their music heard. Advertisers can easily adapt by making sure that there’s text that you can read, and that the point comes across visually. Obviously, that’s not possible when it comes to music.

And, of course, there’s the payment factor, or actually, the non-payment factor is a better way to put it. You may not like what you get paid from YouTube, but at least you have the possibility to get paid something. Facebook is still working video monetisation out, although it looks like that’s coming soon.

With that in mind, most artists are probably thinking, “Are Facebook videos even worth the effort?” given that the chances of people listening to a song are pretty minimal. If you’re looking to expand your audience by promoting a video or hoping to go viral, Facebook might not be the best place, given the latest figures. If you have a hungry audience already on Facebook that you want to reach, of course there’s no substitute. That said, don’t give up on YouTube just yet. You may not be getting a fair shake on the platform, but it’s still worth being there if you want your music heard.

Minha Trilha Sonora, Efeitos Sonoros E Voz Para Demo Video Game My Grumpy

My Soundtrack, Sound Design and Voice Over For My Grumpy 

I always wanted to do something, of course talking about music, for children's games. I had some ideas to make some demos, then came this quotation from a client to a game for mobile and tablet.

He sent an example as reference the "My Grumpy". I listened and made my quotation, unfortunately the customer opted for a track "unofficial" for cost reasons.

I then decided myself replace everything in the example, soundtrack, effects and voice.

Making the music and the effects was simple,  the whole process was fun but, where I had more fun was to replace the voice of the character. I did the voice and made the mix along with the track and the effects.

Check the video I edited  below and look for the original and compare.

Feel free to criticize and comment that will help me in future projects.

See more examples check on my youtube channel.

https://www.youtube.com/channel/UCt75HEtMzvg32vlieSqW5tA


Greetings.

Bruno Cantinho - Power Field Studio

A Receita Esquecida Streams Para Músicos & Gravadoras

Forgotten revenue streams for Musicians & Labels

Being a musician in today’s music industry not only requires musical talent. It also requires you to become a quick-thinking, creative mastermind in order to generate the most revenue from your music. There are many ways that musicians can earn money from exploiting their compositions, sound recordings, live performances, and brand. Here is a list of 6 revenue streams you should be capitalizing on – other than just selling your music.

1. YouTube Monetization

Although most don’t usually consider YouTube to be a revenue-generating outlet, it very quickly has become one of the most popular outlets for discovering and listening to music in the world. Check out some of the crazy statistics they have on their site. Tell me what musician or record label shouldn’t be part of this ever-growing community!

• More than 1 billion unique users visit YouTube each month
• Over 6 billion hours of video are watched each month on YouTube—that’s almost an hour for every person on Earth
• 100 hours of video are uploaded to YouTube every minute
• 80% of YouTube traffic comes from outside the US
• YouTube is localized in 61 countries and across 61 languages
• According to Nielsen, YouTube reaches more US adults ages 18-34 than any cable network
• Millions of subscriptions happen each day. The number of people subscribing daily is up more than 3x since last year, and the number of daily subscriptions is up more than 4x since last year.

(YouTube Statistics, 2014)

Not only do they have one of the largest user bases in the world, but they also get tons of exposure outside of the US, allowing you to expand your viewership and fan base. If you are ready to start monetizing your YouTube channel, Symphonic Distribution can help you. We also have the most affordable pricing out there. We guarantee it. Get started!

2. Publishing Administration

Publishing Administration is an animal that has recently been tamed for the ease of the independent musician community. More musicians are now aware of this vital revenue stream, which in past years many have been missing out on. So what is Publishing Administration? In the music industry, publishing refers to the ownership, control and commercial exploitation of musical compositions. It further involves the collection of all royalties ensuing from the usage of musical compositions. Music publishing is the business of songwriters, composers, and lyricists. So how does this help you make money?

Well, if your music is:

• Being streamed
• Performed live in medium to large scale public venues
• Played on the radio
• Played on TV

Guess what? Your songs have been generating publishing royalties (which include performance and mechanical royalties). If your songs aren’t registered with Performance Rights Organizations (PROs) or mechanical royalty collection agencies, you ARE NOT collecting all your mechanical or performance royalties from your music. Unless you register yourself AND your compositions, you will never see these royalties. So it’s really important that you get yourself a Publishing Administrator that can do this on your behalf at an affordable cost. Most will charge you anywhere from $100 – $75 and will register your works in collection societies around the world. Plus most Publishing Administrators will keep anywhere from 20% to 10% of the royalties they collect. Be weary though on how much control they will have over your music! Some companies’ bundle several services into one and will not only collect your publishing royalties, but will sometimes handle your Sync Licensing exclusively as well. (We’ll chat more in depth on licensing in a bit.) If you’d like to get more information on how Publishing Administration works and the services Symphonic Publishing Administration offers, you can find all the details here.

3. Sync Licensing

Sync Licensing (short for “synchronization licensing”) refers to the making of your music available for opportunities in film, TV, commercials, video games, and any form of visual media. In this realm the key decision makers are called Music Supervisors. Symphonic Distribution has partnered with strategic and key companies, such as Rumblefish, Music Supervisor Inc., and Cue Songs, which allow for actual Music Supervisors to navigate and choose from the music in their platforms for opportunities they have available. “Rumblefish artists have been paid millions in royalties because clients love to tell their stories with this amazing music.” (Rumblefish, 2012) If you’d like to make your music available for licensing opportunities,partner with Symphonic Distribution and we can get it to the appropriate firms that can help expand your music’s reach.

If you’d like to learn more about the exciting field of Sync Licensing, check out some very useful posts we’ve done in the past:

What Makes Music “Licensable”?
Five Steps to Prepare for Licensing Your Music

4. Background Music Licensing

Similar to Symphonic’s Sync Licensing program, there are companies which we have partnered up with that accept music as background music. These companies’ clients, such as stores, hotels, restaurants and more, will use that music in their establishments. The largest companies that used to focus on this type of service were DMX and Muzak. Today these two companies have merged and formed Mood. They house the industry’s biggest and best rights-included music collection for background music. Mood prides itself as a censorial media specialist, using music and video linked to brand personality. Symphonic’s licensing department works with Mood Music designers to hand-pick each track for submission to its channels. Want to offer your music for Background Music Licensing? Apply to our Licensing Program here!

If you’d like to get more information on Background Music Licensing, check out our previous blog post on the subject.

How to Get Your Music in Stores, Restaurants, Hotels & More

5. Neighboring Rights

If you’re a record label/master rights owner, and your master recordings are being publicly performed and broadcasted, you’re earning neighboring rights royalties. This is completely separate from the field of music publishing, in which songwriters and composers earn performance royalties from public broadcasts of their musical compositions. These types of royalties are collected when music is:

• played on Pandora
• played on BBC radio
• played on Sirius XM
• played on cable TV music channels
• played on terrestrial radio outside of the USA
• played in businesses as background music (restaurants, retailers, hotels, etc.)
• played in clubs / live performance venues
• played on any internet radio platform
• played on any satellite radio platform
• played on various new online medias

Due to the unique nature of this royalty type, Symphonic’s Neighboring Rights Administration Service is only available to eligible labels who are distribution clients and who are approved by our Rights Management team. If you’d like to be considered because you’re music does fit these types of scenario, contacts us for more information and see if you are eligible.

6. Merchandising

Selling merchandise is one of the best ways for generating income for your band, record label, or artist brand. As a matter of fact, it may be the only source of income that you as an artist can easily control. If you are a record label or musician, the most important thing you have, besides your talent of course, is your fans. Take care of them and come up with some cool options for branding your music, and have your merchandise available at all your shows and on your site. Not only will it be a nice treat for your fans, but you’ll also have free walking advertisement.

As you can see, there are several things that today’s musicians and/or record labels can do in order to maximize the revenue potential of their music. That is why we are committed to providing these outlets to our clients, so that clients are able to collect money that is already sitting out there AND to have creative ways to generate more money from their music.

By Janette Berrios
Marketing Manager, Symphonic Distribution
janette@symphonicdistribution.com