TIDAL, Do Jay-Z, Está com Sérios Problemas!

 

Tidal's In Big Trouble

First of all, Thank to My Friend Bobby Owsinski for this article .

When Jay-Z bought the music streaming service Tidal last year the purchase was met with a lot of hope and controversy.

Hope because he was an artist and successful businessman who could steer the company in the right direction. Controversy because of the initial tone-deaf press conference where a who's who of artists were trotted out, all saying that they'd finally be getting their financial due now that Tidal was here.

Since then it's been all downhill. Just in the last 30 days:

• Tidal exclusively released Kanye West's latest album The Life of Pablo, which gained no traction on the Billboard charts since Tidal refused to release any of the user data to Nielsen. A total embarrassment for all.

• Yesterday Tidal was served with a class-action lawsuit for $5 million for failing to register and pay mechanical royalties to an artist in the U.S. This is exactly the same type of lawsuit currently pending with Spotify, and one that an "artist's company" would be expected to avoid.

• Today it's being reported that Tidal fired both its COO and CFO, after having fired it's CEO late last year. At this point, the company is left without any experienced leadership.

Jay-Z has reportedly been in talks with Samsung to buy Tidal, but one wonders why that company would even want it, since it already has a failing music service in Milk Music.

Tidal could have been an innovator and leader in the streaming sector, but instead it's just a mess. It's lead in hi-res music streaming was never exploited and even acknowledged once Jay-Z took over, and every month there's a new mis-step. Maybe Jay-Z isn't the businessman he's cracked up to be after all.

IMPRESSIONANTE! Um Home Theater De 6 Milhões de Dólares

Shock and awe: A $6 million home theater

If your typical high-end home theater with rows of plush seats, velvet wallpaper, and popcorn machines offers Cadillac levels of performance and luxury, then Jeremy Kipnis' $6 million ultimate home theater is more like a fire-breathing Ferrari 599 GTB Fiorano, the fastest production Ferrari ever built. 

This home theater is all about aggressively advancing the state of the art of picture and sound presentation. Yes, it's comfortable and beautiful, but its prime directive is a quest for the very best. Nothing, and I mean nothing, is overlooked. Kipnis won't settle for second best. 

The 8.8 channel audio system is fed by a well-balanced combination of audiophile solid-state and vacuum-tube amplifiers. The KSS is astonishing in the way it delivers power, but with 11,315 very high-quality watts on tap, that's hardly surprising. The 8.8 channel system uses 16 (!!!) 18-inch subwoofers and that might be why the KSS is easily the most effortlessly powerful home theater I have ever heard. Unlike all of the other high-end home theaters, the KSS was designed to present picture and sound beyond that found in even the finest screening rooms. Kipnis spared no expense to build the very best.

Call of Duty: Black Ops III - Compositor Jack Wall - Trilha Sonora Completa

Call of Duty: Black Ops III Composer Jack Wall 

First of all, thanks to "Sound Works Collection" for this article. 

Composer Jack Wall about his work on the critically acclaimed Call of Duty: Black Ops III video game.

ABOUT COMPOSER JACK WALL:

Jack Wall’s distinguished musical career includes composing for film, television, video games and concerts as well as his early years producing and engineering albums for recording artists. Renowned for his rich, cinematic scores for popular franchises such as Call of Duty, Mass Effect, Myst, Splinter Cell and Jade Empire, Wall’s repertoire spans a diverse range of musical styles and influences, while working with the world’s top orchestras and musicians.

Wall is celebrated among a Hollywood elite of composers invited to score one of the most successful entertainment properties, Call of Duty. His score for Black Ops II delivered in grand fashion an adrenaline-fueled, deeply emotional and adventurous musical palette that took the blockbuster series in new sonic directions. In 2013 Wall received Best Video Game Score at the ASCAP Film and TV Music Awards.

Collaborating with the world’s leading game studios, Wall is widely recognized for composing some of the most iconic scores for the medium. Wall created the distinctive musical signature for BioWare’s sci-fi epic Mass Effect, combining ’80s electronica, synthetic instrumentation and futuristic atmospheres. The soundtrack won numerous accolades, achieving cult status with fans. In 2011, Wall received British Academy (BAFTA) and Spike TV VGA nominations for his work on Mass Effect 2.

Composing for and conducting a full symphony orchestra and master chorale, Wall first garnered attention with his dramatic score for Ubisoft’s MYST III: EXILE, receiving universal critical acclaim including several Soundtrack of the Year honors. For the climactic sequel, Myst IV: Revelation, Wall was awarded Music of the Year at the Game Developers Conference.

With Jade Empire, Wall crafted a Chinese and Asian instrumental palette incorporating an “East meets West” approach. Working with authentic Pan-Asian instruments Wall crafted an exotic, percussion-driven score to enhance the mythological Chinese setting. Jade Empire was voted Best Original Soundtrack Album by the Game Audio Network Guild.

In addition to his composing achievements, Wall served as Music Director and co-producer for composer/librettist Cindy Shapiro’s PSYCHE: A Modern Rock Opera, an innovative modern retelling of the ancient Greek. He also co-created Video Games Live and served as its Music Director/Conductor from 2005 through 2010 performing with more than 50 of the world’s finest orchestras including the Los Angeles Philharmonic, Hollywood Bowl Orchestra and London Philharmonia Orchestra.

Among his latest projects Wall is scoring the next installment in Activision/Treyarch’s flagship franchise, Call of Duty: Black Ops III, and additional music for CW Television Network’s historical fantasy drama series, Reign. His second entry in the Call of Duty legacy, Wall’s score displays the hallmarks of an epic, sophisticated narrative and explores new musical territory for the record-breaking series including big band and swing. 

Oscar Em 1 Minuto: Sons! Escute!

Oscars in One Minute: Sound

A quick look at the six nominees across the two Best Sound categories (sound editing & sound mixing) at the 88th Academy Awards.

The nominees are: • Bridge of Spies
• Mad Max: Fury Road
• The Martian
• The Revenant
• Sicario
• Star Wars: The Force Awakens

Cante Para Ganhar

Sing for the win - A new app game developed by a Cambridge student challenges people to sing the right note at the right time in order to smash down a wall and advance to the next level - surreptitiously engaging them with basic music theory at the same time. - See more at: http://www.cam.ac.uk/research/news/sing-for-the-win#sthash.e2QFIcUl.dpuf

"I hope this app will encourage people to not be so self-conscious and just make some noise."

A new game for the iPhone and iPad called SingSmash is taking an innovative approach to familiarising people with music theory - by sneaking it through the backdoor.

Gamers have to sing into their phone or tablet. By hitting the required note at the right moment, a chunk of translucent wall is briefly rendered impermeable - hopefully in time to bounce a constantly moving ball back at the opposite side, knocking out blocks to progress to increasingly complex levels.

Released today, the game - which is like a handheld mash-up of a brightly coloured ‘Pong’ and an exacting, stripped-down ‘Rock Band’ - was developed by MPhil student Charlie Williams from the Centre for Music and Science as a response to his experiences of teaching music.

Using the game format, the app gets people stretching their vocal chords to ricochet the ball back at opposing blocks - while stealthily introducing them to notation by telling them what they’ve just sung.

“I didn’t want to put theory up front and scare people by stating ‘Now try and sing a harmonic minor scale’ - which can sound pretty daunting,” says Williams. “But if you beat a level, then you find out ‘Guess what? You’ve just sung a harmonic minor scale!’ - people can start to gain confidence, recognise notes and even discover talents with voice and pitch they may have never realised they possess.”

Williams feels that the way a lot of music is taught to beginners can often miss the point: that the first and most important thing with music is to have a go. He hopes SingSmash will help people overcome self-consciousness and get them to do just that, singing an increasingly adventurous series of notes and even licks as they progress.

“In many music lessons, you learn the names for things first and then you learn how to do it - which seems completely backwards and can put people off. When I teach music I try to emphasise actually doing it first, and I wanted to build a game to encourage that and make it fun, while slipping in the educational aspect so that if people want to build on skills they develop through the game then they can,” says Williams.

SingSmash uses inbuilt algorithms and pitch detectors to match the incoming sound to the best fit note within a broad but specified spectrum. To help people stay within the right range, the background music and in-game sounds - such as the collision noise - subtly match the notes of each level.

There is also a cunning secret feature - known in the gaming industry as an ‘Easter egg’ - which gives you a helping hand if you sing in a certain way, although Williams is keen not to spoil the surprise.

The game starts at a basic level and is very kid-friendly, but employs increasingly complex musical motifs as players advance through the game - to the point where the beta-testers Williams used have yet to crack the hardest level with their voice alone.

“You can play SingSmash using an instrument too, and my most enthusiastic beta-testers said they could only beat the top level with guitar. To my knowledge, no-one has managed to beat it just by singing as yet, so that’s a challenge right there!”

The app was built by Williams - who has gone from classically trained musician to self-confessed “tech-head” - in collaboration with musician Emma Hooper and graphic artist Jeff Kulak. It will initially cost 69p to download, a decision the team was reluctant to take, but, as Williams points out, “we are desperate to spend more time making games, and that takes money”.

Potential future projects include creating multi-player versions of the game and adapting it to incorporate rhythmic exercises. One of the important aspects for Williams is that SingSmash promotes the making of music, not just emulating pre-existing music. “Most music games - such as ‘Rock Band’ - are imitative. They are really fun games but with SingSmash you are actually making music for yourself,” he says.

“A lot of people who are self-taught are adverse to music theory, it can seem elitist and put people off. I’m hoping that people who play guitar in a band or whatever can use this as a fun way to build up their skills and explore new musical patterns.

“You don’t have to sing nicely, you just have to sing on the pitch - I hope this app will encourage people to not be so self-conscious and just make some noise. The best thing about kids is they just go for it right away, people are so worried about doing something wrong - this app is almost like a trick that might get adults to forget they are actually singing!”

Minha Trilha Sonora e Efeitos Para um Game "OVERWATCH" - BLIZZARD - Video

My Soundtrack and Sound Design for Video Game "OVERWATCH" - BLIZZARD 

Bruno Cantinho 

Power Field Studio

I just replace the soundtrack and sound design (effects) I keep the caracter original voice. See the video below.

Rock Não Esta Morto De Acordo Com Novo Estudo

Rock Still Isn't Dead According To A New Study

First of all, thanks to my friend 

 Bobby Owsinski 

We keep on hearing that rock is dead as a music genre, but that's not the case at all, according to a study by Nielsen Music. Surprising, rock came out on top when it comes to genres of music that people consumed in the US during 2015.

If you listen to the radio, pop music dominates, but it's only #3 when it comes to favorite music. Also surprising was the fact that country and dance/EDM scored lower than other genres.

Here's what the study found.

   Rock 29%

   R&B/Hip Hop 17.2%

   Pop 14.9%

   Country 11.2%

   Dance / EDM 3.4%

   Christian Gospel 3.1%

   Holiday / Seasonal 2.6%

   Latin 2.6%

   Jazz 1.4%

   Classical 1.4%

   Children 1%

It just goes to show that in these days of music consumption online, it's more difficult than ever to determine what's really hot and what's really not.