Technicolor Lança Virtual E Realidade Aumentada Focado Em Sound Lab

Technicolor Launches Virtual and Augmented Reality-Focused Sound Lab

Courtesy of Technicolor

Scott Gershin at the Sound Lab at Technicolor.

Supervising sound editor and designer Scott Gershin is leading the initiative.Technicolor's new immersive audio unit, dubbed The Sound Lab at Technicolor, is up and running at its Burbank headquarters. It will also use space at the company's Technicolor at Paramount sound facility and work closely with its Technicolor Experience Center.

The Sound Lab was conceived to explore creative approaches and new technical workflows for developing immersive content, including virtual, augmented and mixed reality; video games; and experiences for theme parks and other special venues.The facility is led by veteran supervising sound editor and designer Scott Gershin, Technicolor's director of sound editorial, whose work spans features (American Beauty, Pacific Rim), TV and games. 

"VR, AR and MR are touching many areas of entertainment, from mobile to special venue," he said, adding that content developers are still learning "how to capture their audience and identify the audiences of the future.

"The Sound Lab team also includes supervising sound designers Adam Boyd, Masanobu (Tomi) Tomita, and Bryan Celano; senior technical sound designers Viktor Phoenix and Chris Hegstrom; sound designer Nick Interlandi; composer and sound designer Johannes Hammers; audio specialist/music production and licensing, executive producer Debbie Gonzalez; and  associate sound designer asset manager Jesse Garcia.The new Burbank space includes 9.1 and four Dolby Atmos rooms, supporting all commonly used playback formats as well as providing headsets for VR/AR; eight 7.1 rooms; and The Loft, a private room for testing Immersive technology. 

Foley services are offered at the Paramount location. As part of the Technicolor Production Network, the units can connect in real time with clients at Technicolor company locations worldwide, including New York, Shanghai, Tokyo and London. The Sound Lab also has launched a voiceover casting and recording service for immersive entertainment.

While the Burbank facility was being set up, the company handled sound for a few projects via the Technicolor Experience Center. That included VR/AR piece Wonder Buffalo (a collaboration with the Entertainment Technology Center at USC); Tree, an official New Frontiers selection at Sundance; and My Brother's Keeper, a VR reenactment of the Civil War.

10 Dicas Para Melhorar Suas Letras De Música

10 Tips for Better Lyric Writing 


First of all thanks to Robin Yukio for this article.


There are as many lyric-writing styles as there are genres. From conversational and literal to poetic, abstract, and even nonsensical. Whatever style you embody, you can always improve your craft. Here are some tips on how to do that.

1. Have a theme. Themes don’t make your lyrics boring, they make them cohesive. Think of Somewhere Over the Rainbow and its whimsical sky references (clouds, birds, stars, chimney tops). It’s about world-building that sweeps the listener away.
2. Try to stay away from perfect rhymes. Day and way. Run, fun, sun. They sometimes ring as childish, especially if the context is not interesting enough. Be more adventurous and less strict (fade and wait, mine and kind, crazy and maybe, etc.).
3. Make the context interesting. If you are singing the same old love song, say it in a different way. Build from real memories, real conversation, or unusual metaphors.
4. Put the rhymes in unusual places (internal rhymes, in the middle of phrases). It adds meat to the bones of your song.
5. Change up the rhyme scheme. An example from Pat Pattison, “Mary had a little lamb, fleece was white as snow. And everywhere that Mary went, she sold the fleece to pay the rent.”
6. Put the emphasis on the right syllable. As much as I love Alanis Morissette, she has an annoying habit of misplacing accents, making it incredibly awkward and difficult to understand (“an un-for-TU-nate slight,” instead of “un-FOR-tu-nate” in Uninvited). If you are dead-set on a lyric that stresses the wrong syllable, don’t be afraid to change the rhythm to set it right. You can also add or take away unimportant words like “that” or separating contractions. Personally, I know a lyric is right when it sounds as if I could speak it naturally.
7. Make your choruses more general than your verses. This is not a hard rule, but it helps to “change scenes” after your verse.
8. Be ruthless about clichés. Speak your lyrics aloud to spot them. When you find them (and you probably will), try changing only one word to something unexpected.
9. Keep writing different versions of the same section. You can always go back to the original, but you never know what you’ll come up with on try #5.
10. Don’t be afraid of the tools in your arsenal. Get a thesaurus. And a rhyming dictionary.  Even if you don’t use the words you find, they can sometimes inspire other ideas. So can novels, newspapers, facebook updates, and people-watching.

You may have sensed a theme by now. Always ask yourself if you can do better. You usually can. But eventually, like a new car, you have to take it for a drive and see if it gets you there. Play it live, get honest opinions from your peers and mentors, and revise. You can play it for friends and family, but don’t expect much more than general praise. Ultimately it’s up to you, as writer Neil Gaiman would say, to make good art. And know when it’s done. 

Como Enviar Uma Demo Perfeita!

How To Send The Perfect Demo

To be heard, you have to stand out in a professional manner.

For any record label A&R, listening to demos starts out as the most exciting part of the job. Just think, you are being handed new music without having to dig for it, and their fate is in your hands!

But after a few years, this excitement turns into a massive drag and becomes just the opposite: quite possibly the most troublesome thing you have to deal with. With success of any label the amount of demos grow exponentially, while the quality of submissions also drop exponentially. It’s the equivalent of walking out to your mailbox each day, and finding an ever-growing amount of letters sloppily addressed to you but having absolutely nothing to do with your life! You’d probably start strong, carefully attending to every letter- but after a while you’d probably just stop reading (unless something was presented in a way that seemed worth your time).

Let’s start with what you aren’t supposed to do.(and yes all of these things happen on a regular basis)

DO NOT openly send your submission to too many labels at once

This just comes off as spam, and usually gets an instant deletion. Many aspiring producers will pass around demo address-lists and start sending music to labels who don’t even release that sound. It suggests that the aspiring producer is simply “throwing shit against the wall to see what sticks“. If that wasn’t a good enough reason, failing to BCC will result in unwanted “reply-alls” leading to annoyed recipients receiving even more spam!

DO NOT send 3rd party download links such as Sendspace or Mediafire (or zip files)

Such a process doubles or triples the amount of time it can take to review a demo. We have to wade through cheap advertising and pop-ups just to download the file (which might also be throttled to be slow), wait for it to download, and then go to the download location and finally listen to it just to decide if the demo is good. Would you want to do all that?

DO NOT attach MP3s

Their web server may have specific restrictions such as maximum attachment size. This might prevent your demo from ever being received, in addition to the same reasons I listed in “no 3rd party links”.

DO NOT send in bootlegs or remixes

Why?

DO NOT send a long-winded bio or unnecessary details

The truth is that none of the info is relevant if the music is not up to par. I receive numerous submissions that include a long heart-felt and thought-out message, to which I immediately skip over, going straight to the streaming link (hopefully there is one). Let us get interested in your music first and we will ask what we need to know.

DO NOT insert lines such as “This is my first track” or “I’m a 14 year old producer”

An A&R is looking for the cream of the crop from even the experienced producers, and even then we want to seek out their best work. An artist’s best work will very rarely (if ever) come from his first year(s) of production. I understand the need to show people your new music, but that’s what friends and family are for (extra bonus if they give you honest opinions). If you are a teenage-phenom-producer, the people around you will let you know.

DO NOT link to a generic place where “all your music can be heard”

An example of this is: soundcloud.com/artist. In the moment, any A&R person will be too overwhelmed with your method of delivery to to hone in on a single song (or two), thus you will simply be skipped over. It also comes across as lazy.

DO NOT add the label manager on social media, and start sending him private messages with your demo (unless you know them personally)

We will remember your name (and not in the way you have intended).
To sum things up… DO NOT ACT DESPERATE

Desperation can be a terribly destructive feeling. It can take away all perspective and make you act impulsive in a way that might turn other people off, which is the opposite of your goal. If you are submitting music to a label that you respect for making cool, calculated moves then you need to embrace the same energy.

Overall, record labels want submissions from aspiring producers who have followed them for years, and understand the style of music they push and the way in which they push it. You must confidently cater your demo in a way that shows you respect and understand this.

Here are the instructions for what I consider to be “THE PERFECT DEMO.”

1. An appropriate title

Such as “Artist Name Demo”

2. Only send to one e mail address

You can CC or add an additional address if it is pertinent to the submission. For example you may have multiple contacts at the same label.

3. A short note

Such as “I am x producer from x country. I have been following the label for x amount of time, and i submit this demo for you“. (extra credit for mentioning the label name in your short, but sweet introduction as it shows the message was meant specifically for the label you are sending it to).

4. A link to one or two streaming songs

Preferably private Soundcloud links, no more than two. If the label likes the songs the first question will usually be “Can i hear more?” followed by “Tell me about yourself?”

*BONUS* Are you friends with an artist already on the label?

If so, kindly ask them to forward your demo. This will be listened to with great attention, and you will already know your demo is up to the necessary standard (if they are a good friend, that is).

Uma Nova Máquina Para Prensagem De Vinil - Video

This New Robot May Change Vinyl Record Pressing Forever

First of all thanks to BOBBY OWSINSKI  for this article.

We’ve been hearing about vinyl record manufacturing coming into the future for some time, and here’s another example. Some Canadian design engineers who usually put their R&D talents into things like MRI machines went to work on the vinyl record press. They made some huge improvements and came up with the Warm Tone vinyl record press.

What’s cool about the Warm Tone press is that so many pain points of the record making process are improved, not just one. Everything from the way the vinyl puck (the piece of plastic before it becomes a record) is warmed and formed to the way the finished record is picked up off the press has been improved. As a result, you now have a high-tech device that’s much more efficient than anything that’s come before.

You always hear that word “efficient” thrown about, but in this case it’s a huge improvement that can end up saving the customer (you, the artist) money.

The typical old-school record press has a 30 to 40% failure rate, meaning that for every 1,000 records pressed, 300 to 400 are bad and must be recycled thanks to everything from operator error or mechanical failure. The Warm Tone is down near 1%!

It’s faster too, spitting out 3 records per minute versus less than 2 from the old system.

All this from a machine that’s iOS operated by a single technician for every 4 presses, as compared to the normal one technician for every press.

The bottom line is that every though each press costs $195,000, it should actually bring the cost of making a record down, and speed up the manufacturing as well. If you’re suffering from a long wait time for your vinyl album to be pressed (as long as 4 months in some cases), then hopefully that wait time can chopped down to something bearable soon.

Jack White Celebra Abertura De Fábrica De Vinil - Third Man

Jack White Celebrates Opening of Third Man Pressing Plant in Detroit

An ebullient Jack White raised a plastic champagne flute on Friday night (Feb. 24) at his Third Man Records store in Detroit, toasting the opening of the Third Man's Pressing plant with a large crowd of invited guests.

"Thank you all for coming to celebrate this," White said as eight shiny Newbilt presses churned out vinyl in the background. "We're all one family. We're all together. This is ours together, and remember this moment, because we're making things beautiful for the next generation."

Spirits were indeed high as White and company officially opened the 10,000-square-foot operation -- privately on Friday and for the public on Saturday -- which is said to be the first recording pressing plant in the U.S. with all-new equipment in 35 years.

Back at the store, there were performances from rapper Danny Brown, Third Man Detroit-based country act the Craig Brown Band, and Detroit singer-songwriter Kelley Stoltz. But the real party was in the large converted municipal parking garage, where guests watched Third Man workers, who wore black jumpsuits and white lab coats, press red vinyl copies of albums by the White Stripes, Stooges, MC5, and techno pioneers Derrick May and Carl Craig, among others.

On the sidewalk outside, meanwhile, a few groups had pitched tents for an all-night stay so they'd be among the first to check out the plant when the store opened on Saturday morning.

"We wanted to be a label that had their own pressing plant," White told Billboard. "It's been a long time since Capitol and Columbia and all those labels had their own pressing plants.

"Wanda Jackson told me a story,” he continued. “She said, 'I couldn't get my records pressed because the Beatles were selling so well they wouldn't let me press my own record at Capitol.’ That was when I first started to say, 'One day Third Man's going to have at least a couple presses.' So now we've got eight. I couldn't ask for anything better than that."

As he squired his mother -- who pressed a Stooges album herself at the plant -- around the party, White added that it means a lot to have the plant operating in his burgeoning home town.

"I went to high school, like, three blocks away," he said. "My mom was an usher at Masonic (Temple). We played at the Gold Dollar. So it's perfect. Out of the darkness comes  the light, and what was considered the roughest neighborhood in Detroit... That's what's so beautiful about this rebirth. It's amazing to be part of it."

Alongside family and friends, Friday's party was also attended by musicians such as Stefanie Eulinberg (from Kid Rock's Twisted Brown Trucker Band); the Detroit Cobras' Mary Ramirez; Danny Kroha; the Oblivians; producer Mike E. Clark (Kid Rock, Insane Clown Posse) and more -- many of whom raged into Saturday's wee hours.

Derrick May beamed as he showed his 12-year-old daughter Soren the operation. "Let's hope that people appreciate it," May said. "Let's hope it inspired a lot of young people. It's right here, right at their fingertips. We're all excited."

White also used the party to bring together record plant operators from around the country -- “a gathering of the families," as one Third Man staffer put it. Many of the attendees who offered counsel as Third Man Pressing was being constructed were invited. They including United Record Pressing, Quality Record Pressing, Record Technology Inc., Rambino Records, Erika Records, Gotta Groove Records, Burlington Record Plant, and Third Man's Detroit neighbor Archer Record Pressing.

"I want us to all be a family and all be on the same team," White explains. "There's no competition. There's a four-month backlog 'cause there's so much demand for vinyl and there's not enough supply. There's not enough machines. Let's all be a family and do this together."

White had Third Man pressing in mind when the Detroit store opened in November 2015. The pressing machines had already been ordered from Germany, while White's brother-in-law Randy Cholewa -- a retired auto industry executive -- researched the business and put into motion a slick, efficient and environmentally-friendly operation, housed in what was once a municipal parking garage.

Third Man Pressing will employ about 20 people and operate one shift to start, during which it has the capacity to crank out about 5,000 records per hour. But it has the capability of going 24 hours, seven days a week if the demand warrants. Third Man store customers will be able to view the proceedings via a window that looks out onto the plant. Tours will be offered. A studio is also being readied that will make recordings of live performances on the stage inside the Third Man store.

While Third Man Records will continue to use Nashville's United Record Pressing for its own product, the company's Ben Blackwell said there are voluminous inquiries from artists and labels both in the U.S. and around the world. Blackwell noted that Blue Note Records president Don Was, another Detroit native, even contacted him pledging his support several months before Third Man even announced the pressing plant.

"My response was, 'How do you even know we're doing a plant? We don't even have presses yet!'" Blackwell said. "We've been slow to promise anything to the dozens of people who are asking and lining up. The goal now is just to get the doors open and then see how it lines up from there."

Nevertheless, Third Man Pressing's future seems as bright as the plant's gleaming yellow floors. "This is not about being nostalgic," White said. "It's about preserving something beautiful for the next generation so they can understand it, too. Tonight and tomorrow, some 12-year-old kid's gonna buy a Stooges record and is gonna get turned on, and that's worth all of this -- every cent, every bit of energy. Everybody here would agree with that, too."

As Músicas Do Batman Lego - video

The Music of The Lego Batman Movie with Composer Lorne Balfe

It should come as no surprise that a movie that explores the loneliness that Batman must feel in the bat-cave after leaving his adoring public behind — even one involving LEGOs — has a fairly dark orchestral score thanks to composer Lorne Balfe, who argues that The LEGO Batman Movie has just as much emotional depth as any live-action Dark Knight tale. Balfe, who was part of the musical department for The Dark Knight series of films, shared some of his thoughts on writing for this animated incarnation of the hero’s story.

Composer Lorne Balfe [TERMINATOR GENISYS, CHURCHILL, THE STORY OF GOD WITH MORGAN FREEMAN] is a Grammy Award-winning, EMMY and BAFTA nominated film composer from Inverness, Scotland. His filmography boasts an incredible breadth and depth of titles, ranging from major studio to independent films, tentpole video game franchises, beloved animated feature films, critically acclaimed television series, and documentary features.

Google Faz Uma Remodelação Dos Serviços De Música

Google reshuffles its music products

The product teams for YouTube Music and Google Play Music are being combined into a single unit, The Verge reports, in a hint that Google plans to fuse the two music services into a single app. 

For the moment, the apps will continue to operate independently, but an eventual combination (if it occurs) would solidify Google's music offering to consumers. 

Right now, YouTube Music and Google Play Music are separate but complementary apps:

• YouTube Music is a streaming app recreates the listening experience on YouTube into a standalone audio-only app. It’s built around playlists, personalized stations and a near endless catalog of songs. Another (and perhaps more specific) way to think about YouTube Music is as the music component of YouTube Red minus the price and perks of a paid subscription.
• Google Play Music is both a music streaming service and a cloud-based music locker where users can upload and store songs from their personal catalogs. It has a streaming catalog of over 30 million songs and lets users save up to 50,000 songs from their own collection on the app. It’s tied into the Google Play app store, where users buy and download their desired songs.
• YouTube Red, meanwhile, is the company’s paid subscription service. At $9.99 a month, it gives users ad-free access to YouTube music and video, and the ability to play content offline and in the background while the screen is off or when running another app. A subscription to YouTube Red gives users full access to both YouTube Music and Google Play Music. 

But this the latest sign that YouTube Music and Google Play Music are better off as one. Google already combined the business development teams from both apps last year. Driven by an urge to simplify its relationship with the music industry, the move streamlined Google’s negotiations with music copyright holders — publishers, labels, and artists — by consolidating Google’s music partnerships to a single point of contact.

And combining the apps’ product teams is another indication that running Google Play Music and YouTube Music separately doesn’t make business sense. Initially, YouTube Music was seen as a way to sell more songs and memberships on Google Play Music, but perhaps these apps aren’t as differentiated and complementary as Google had envisioned.

Merging YouTube Music and Google Play Store could benefit Google in several ways:

• Competition. Combining the best of YouTube Music and Google Play Store into one app likely lead to a more competitive service. It would eliminate having to switch between the two apps (as well as any consumer confusion about how these apps are different in the first place). Staying competitive is key in a music space that’s becoming increasingly crowded.
• Subscriptions. Similar to the point above, combining the two apps would provide a more cohesive and compelling free offering underneath YouTube Red, which would act as a stronger conduit to then funnel users into paying Red members. YouTube needs to convert 4% of its one billion monthly user base to match Spotify’s number of paid subscribers.
• Acquisitions. Simplifying the organizational structure of Google’s music services clears the course for Google to go and make acquisitions in this space because it would make any future product integrations — particularly big ones — much easier to do. Earlier this year, Google was rumored to be “very interested” in buying SoundCloud for $500 million.

Spotify Está Lançando 3 Temas De Música No Seu Podcast

Spotify is launching three of its own music-themed podcasts

Music streaming service Spotify is continuing its original programming push with three new podcasts, all of which are music-themed and the first of which premieres today. Spotify has carried podcasts since the spring of 2015, according to The Hollywood Reporter, though the latest slate of exclusives solidifies its mission.

The new shows include: Showstopper, premiering today and produced alongside Slate’s Panoply Studiospodcast network about memorable music moments on TV; Unpacked, in which Broad City music supervisor Matt FX will interview music festival goers across the U.S. beginning on March 14; and The Chris Lighty Story (working title), which will explore the life and career of the late music exec. The Lighty series is being produced by Gimlet Media and Loudspeaker Network, and will premiere in April.

Spotify, which said it had 40 million paying subscribers in September, has also announced plans for original video content, including a slate of 12 original series last May — all of which are also about music. Landmark, for instance, will tell the story behind important moments in music history, while Rush Hour, courtesy of Russell Simmons’ All Def Digital, will feature two hip-hop acts who must conceive and perform a musical collaboration.

Spotify said in a blog post that more original podcasts will be unveiled later this year.

The trio of new shows follows a report in Digiday earlier this month noting that Spotify was in talks with podcast production companies including Gimlet, How Stuff Works, and Pineapple Street Media about picking up original shows.

Os Melhores Sites De Marketing E Promoção Para Músicos

The best online marketing & promotion resources for musicians

Looking for a little music marketing & promotion inspiration?

Check out this list of some of our favorite online resources for independent musicians:

1. Ari’s Take

DIY musician and actor Ari Herstand provides direct and relevant tips on how to build a career in today’s music industry.

• Website: http://aristake.com/
• Twitter: @ArisTake

2. The Future of What

A weekly podcast about the recording industry, produced and hosted by Portia Sabin of Kill Rock Stars.

• Website: http://killrockstars.com/thefutureofwhat/
• Twitter: @KRSfow 

3. New Artist Model

Music educator Dave Kusek offers both paid courses and free webinars giving you access to experts in various aspects of the music industry.

• Website: http://newartistmodel.com/
• Twitter: @DaveKusek

4. Hypebot

A daily news source for happenings in the music business.

• Website: http://www.hypebot.com/
• Twitter handle: @hypebot

5. The DIY Musician Blog

Hey, that’s us! A blog for independent musicians, providing expert industry advice, news, & promo tips.

• Website: http://diymusician.cdbaby.com/
• Twitter handle: @cdbaby 

6. The DIY Musician Podcast

Nearly 200 episodes of in-depth discussions with musicians and music industry entrepreneurs who’ve taken an unusual approach to building their careers.

• Website: http://cdbabypodcast.com/
• Twitter handle: @cdbaby 

7. Steve Rennie

The former manager of Incubus and Senior VP at Epic Records now offers a series of music business courses and video tutorials.

• Website: https://renmanmb.com/
• Twitter: @renmanmb

8. Dave Ruch

Dave offers pro instruction for artists who want to make a living OUTSIDE the club circuit, focusing on daytime gig opportunities and carving out a niche that appeals to organizations with funding for educational entertainment.

• Website: http://daveruch.com/
• Twitter: @DaveRuchMusic

9. Ariel Publicity

Cyber PR is a digital public relations and social media strategy firm run by Ariel Hyatt, connecting musicians with new media & fans.

• Website: http://arielpublicity.com/
• Twitter handle: @cyberpr

10. Bob Baker

Bob Baker is an author & musician offering music marketing tips and self-promotion ideas for indie artists via his website The Buzz Factor.

• Website: http://bob-baker.com/buzz/
• Twitter handle: @mrbuzzfactor

11. Indie-Music.com

The latest on how to make and market your music, and what tools make you shine.

• Website: http://www.indie-music.com
• Twitter handle: @Indie_Musiccom

12. Michael Brandvold

Michael Brandvold is a music marketing consultant, speaker, and author that helps artists “find and keep fans.”

• Website: http://www.michaelbrandvold.com/
• Twitter handle: @michaelsb

13. Music Think Tank

Managed by the good folks at Hypebot, MTT features well-considered articles on industry trends and music promotion strategies.

• Website: http://www.musicthinktank.com/
• Twitter handle: @musicthinktank

14. Passive Promotion

Music promotion tips from mastering engineer and recording artist Brian Hazard.

• Website: http://passivepromotion.com/
• Twitter handle: @colortheory

Think we missed any? Who are your go-to resources when it comes to advancing your creative career? Let us know in the comments below.

Selos Da Grã-Bretanha E O Google Formam Parceria Contra Links Piratas

U.K. Labels and Google Partner on Anti-Piracy Measure: Removing Links

Search engines Google and Bing will step up their efforts to demote and restrict access to copyright infringing websites, following the agreement of a voluntary code of practice between rights holders and tech companies in the U.K.

Hailed as a world first initiative, the code will see the removal of links to unlicensed material and is intended to reduce the prominence of infringing content in search rankings, thereby promoting licensed music sites and services.

Effective immediate, the agreement follows a series of Government-chaired roundtables and has been signed by labels trade body the BPI, the Motion Picture Association and the Alliance for Intellectual Property, as well as search engines Google and Microsoft-owned Bing.

"Successful and dynamic online innovation requires an ecosystem that works for everyone -- users, technology companies, and artists and creators," commented BPI chief executive Geoff Taylor. He said that while the code of practice will not be a "silver bullet" fix "it will mean that illegal sites are demoted more quickly from search results and that fans searching for music are more likely to find a fair site."

"We look forward to working with Google, Microsoft and our partners across the creative industries to build a safer, better online environment for creators and fans," Taylor went on to say.  

In line with existing practice, rights holders will still be required to alert search engines to infringing content, but stakeholders hope that increased co-operation between parties will greatly improve the notice and takedown procedure, as well as enable new anti-piracy practices to be adopted. There will also be collaboration to improve auto-complete suggestions, which have historically led users to infringing search results.

According to research by the U.K. government's Intellectual Property Office, 78 million music tracks were accessed illegally between March and May 2016, while 20 percent of internet users participated in some form of illegal music activity online during the same period. The introduction of a code of practice is intended to quell the tide of illegal sites profiting off illegal content.

"Pirate websites are currently much too easy to find via search, so we appreciate the parties' willingness to try to improve that situation," said Stan McCoy, president and managing director, of the Motion Picture Association EMEA.

His words were echoed by Jo Dipple, chief executive of umbrella organization UK Music, who called the voluntary code of practice "the culmination of years of discussions between rights-holders and search engines. This is progress and all parties must work to ensure the code has effect."

Prince On-Demand Streams Estoura Mais de 6.300% Em Apenas 2 Dias

Prince On-Demand Streams Surge By Over 6,300% In First Two Days

The purple floodgates have opened. On Sunday, Prince's highly protected catalog -- specifically, the 27 albums controlled by Warner Bros. Records -- became available on all streaming services for the first time since 2015, when Prince pulled his music from all streaming services except Tidal. 

And it seems that fans are taking full advantage. Ever since Sunday's announcement -- which came after Warner reached a deal with Prince's estate -- streaming services like Pandora have turned a strong shade of purple.  According to Nielsen Music, his catalog saw over 4.7 million on-demand streams on Sunday and Monday (a 6,323% increase) which is more than his catalog has been streamed this entire year prior to wide release.

On Monday, 686,348 people added a Prince station on Pandora, marking a a 39,210% lift week-on-week. (Pandora listeners could still add a Prince station when his music was not available on the platform.) In total, around

839,864 fans have added a station in his name since the announcement was made on Sunday. In comparison, Drake, who's the most popular artist on Pandora, has been averaging right around 28,000 daily artist station adds over the past year.

Prince saw a huge uptick in Pandora artist station adds after his catalog was released to streaming services on Sunday.

Since Sunday, Prince has seen over 3.75 million spins on Pandora. The highest-spinning song so far has been "When Doves Cry," followed by "Little Red Corvette" and "Purple Rain." The highest performing in terms of track station adds, meanwhile, are "Purple Rain," "Let's Go Crazy" and "When Doves Cry." Spotify reported that the most popular songs this week have been "Purple Rain" at No. 1, "Kiss" at No. 2 and "When Doves Cry" at No. 3.  

He's also seeing a very impressive ratio of Thumbs Up. On Monday, for example, he saw right under 150,000. Looking at geographic data, it looks like Prince's home state of Minnesota was one of the states thumbing up the most, when comparing thumbs to population. (Looking at raw thumbs up numbers, California, Texas and Florida had the highest numbers.)

Recording artist Bruno Mars performs a tribute to Prince onstage during The 59th GRAMMY Awards at STAPLES Center on February 12, 2017 in Los Angeles, California. (Photo by Kevork Djansezian/Getty Images)

And it isn't just streaming he's seen a bump in, but social media too. According to data provided by Twitter, there have been 800,000 Tweets about Prince since Sunday's announcement. He also saw a big bump thanks to the Grammys, during which he was honored with a tribute by Bruno Mars. The biggest peak on Twitter happened on Sunday at 11:30 p.m. ET, with nearly 2,000 Tweets per minute about Prince. He also saw a week-on-week 77.7% increase in Wikipedia page views. 

Last year, Prince earned over $25 million after selling 2.5 million albums. His overall catalog sold more than anyone else that year, according to Nielsen Music.