Trilha Sonora INDEPENDENCE DAY: RESURGENCE - THOMAS WANDER & HARALD KLOSER

INDEPENDENCE DAY: RESURGENCE - THOMAS WANDER & HARALD KLOSER

What You Will Hear:  A watered down version of the original film’s score.   Full orchestra and brass for the big cues and piano/bells for some smaller moments. Standout Tracks:  More Stimulation, The Only Family I Got, What Goes Up, Worth Fighting For, Bus Chase Will You Be Humming Along?  Yes, and hating yourself for it. Composed by my 15 year old self. The album this makes me want to dust off:  Independence Day – David Arnold Will I come back to it?  Let’s get one thing straight:  this is not a poorly scored adventure.   Don't give into the skeptics.  Some of the action cues are quite enjoyable, and the quieter  moments manage to install a sense of family and wonder.  Additionally, the string writing is sufficiently dark to be considered a true successor to the first film.     But, ID4: Resurgence has one major flaw from which it just cannot recover.  Following in David Arnold’s footsteps is a tall order.  His theme from the original film is one of the most joyous adventure themes ever composed.  Wander’s & Kloser’s new main theme is beyond generically forgettable. It sounds like it belongs to some 5th sequel of a C-level franchise.  It works well when it is (rarely) used as part of an action cue, but it is cringe worthy when attempting to convey  pride or honor.  Adding insult to injury, Arnold’s theme inexplicably shows up towards the  end of the album.  It’s a total head scratcher; the finale uses recycled statements of Arnold’s material.  One cue sounds like they didn’t even re-record it. Why would you remind us of what is missing?   The majority of this score is a fun ride.  But, each use of the new theme just takes away from the experience.  A more respectable theme could have saved this attempt at following a classic.  Instead, this one will chase me away from an otherwise enjoyable score.Independence Day: Resurgence was provided courtesy of The Krakow Group and Sony Music Masterworks.

Este Instrumentos Feitos de Gelo São Bonitos Como os Sons!

These Ice Instruments Look as Beautiful as They Sound

First of all thanks to DJ Pangburn for this article.

Half a world away, in the winter wilds of Luleå, Sweden, American ice sculptor Tim Linhart hand-carves ice instruments. He’s made guitars, drums, banjos, violins and even invented a couple new musical devices. One, the Rolandophone, is giant percussion tool that looks like a pan flute, and another is the Gravaton, a massive 37-string instrument sculpted from 2.2 tons of frozen water.

Linhart’s Ice Music concert series presents around 20 of these instruments to audiences each year. The Ice Music orchestra explores genres ranging from traditional folk to Hawaiian music to rock & roll and classical. It’s avant garde sonic tools draw crowds to Luleåeach year, which is no small feat considering the concert season runs through the city’s subarctic winter.

 

Image by Karin Aberg

But Linhart hasn’t always made ice instruments. Before getting into music, he was an ice sculptor who had worked at villages and ski resorts in Colorado for 16 years. Always pushing the boundaries of what could structurally be done with ice, Linhart would venture out onto the edge of a cliff, sitting atop a sculpture as he chiseled away. Precariously perched, Linhart spent a lot of time thinking about the properties of his chosen media—particularly areas of weakness and strength. One wrong move and he was dead. This critical thinking opened up other possibilities for Linhart’s artistic and, eventually, musical expression through ice.

“I had a friend who was building guitars, and the two ideas — the ice sculpture and guitarmaking— got close enough together, and we asked the question if we could build an instrument that was made of ice,” Linhart says. “At that point I had no knowledge of anyone else doing it. So I tried building a ten-foot high bass, like a giant violin, and put strings on it from a piano, tightened the strings, plucked them and heard the voice of the instrument come out.”

 

Image by Karin Aberg

Linhart, having no formal training in creating musical tools, thought if he just tightened the wires some more it would be louder. Instead, the frozen bass exploded into “a thousand small pieces.” That was the inauspicious beginning of his now 20-year journey into “ice music.” But he’s come a long way in the past two decades. “I’m quite uneducated, at least unofficially, as far as musical instruments,” Linhart said. “Now I’ve built 17 or 18 orchestras and well over 100 instruments, and played them through many hundred concerts, so I’m very familiar with how instruments work.”

To make an ice guitar, Linhart lays out a piece of plastic on a tabletop that has a drawing of the guitar body’s shape. Linhart then builds the guitar’s front and back plates with white ice, which is a mixture of snow and water. After letting it freeze overnight, Linhart carves the plates, then adds some finer details like f-holes before gradually building up the space between the plates with ice until they are sealed. From there, he adds a traditional neck, bridge and strings to complete the ice axe. “You start with the proportions that you’ve copied off of a standard instrument, and then you begin modifying those proportions in different ways to see how it affects the ice,” Linhard explains.

Considering Linhart’s pieces are made of solid H2O instead of resonant instrument materials like wood and metal, some can be a bit quieter than their traditional counterparts. But what they might lack in volume, Linhart insists they make up for in sonic beauty, “They have a more detailed sound—a brighter, richer sound,” he says. “The ice is volatile. It’s always moving. When it’s first formed, the ice is 10 percent bigger than it was as water, so there are all these crystals growing from different directions and there’s a lot of tension in them. But when you send vibrations through, all of those molecules that are under stress begin to release and the ice becomes more of an evenly-spaced and tensioned material. It changes the physical structure of the ice and more friendly to making music.”

 

Image by Graeme Richardson

As for the performance space, Linhart’s team builds a “cosmic igloo” for their ice orchestra. Each winter they construct a domed concert hill using snowblowers. “The concert hall that we’ve been playing in this year has two domes, and when you walk in the door the seating leads downward toward the stage, which sits between those two domes about 15 feet below the doorway,” Linhart explains. “The domes have holes in the roof to ventilate the heat from the bodies, while the instruments stay at the bottom in the pool of cold air.”

Concert season ends with spring, and a stage piece that requires six weeks to create simply begins to melt. The hall itself is disassembled in late March, and the musical instruments are stored in freezers for the summer. Come next January, the team will once again construct the concert hall and, if necessary, the instruments to entertain the audiences with their ice music.

 

Image by Karin Aberg

 

Image by Graeme Richardson

 

Image by Karin Aberg

Prepare-se para Amazon Streaming Music!

Get Ready For The Amazon Streaming Music Disruption

First of all thanks to my friend  Bobby Owsinski for this article.

With the battle over streaming music leadership raging on between Spotify, Apple Music and YouTube, there’s one major company that’s been lying silently in the weeds waiting for the right time to pounce on an industry increasingly ripe for the picking. Don’t look now, but it may be Amazon that may soon be the one causing the disruption in the music business, and not the other popular contenders.

Amazon’s already a major, but low-profile, mover and shaker in the industry, with reportedly somewhere between 75 million and 90 million yearly subscribers (the company doesn’t release such information, so this is just informed speculation) to its Prime service, and although most of that centers around 2 day merchandise shipping and video delivery, the different types of offerings coming from the Prime Music portion of its service have been growing by the month.

This slow roll-out is happening at a controlled pace, but you get the feeling that the company is learning what works best with each move while not intentionally making a lot of waves as it positions itself to enter the online streaming market full-force.

One recent example of this is when Amazon Music was added to T-Mobile’s Music Freedom data-free music streaming program, which is the first instance of Prime Music being available to off-the-platform users. The move didn’t cause a lot of headlines, but gives the company some experience in rolling out a service beyond its own closed ecosystem.

Step By Step

What might be more an indicator of the ultimate bigger picture is the fact that Amazon recently made it’s Prime Video service available as a stand-alone product for $9 a month. Just adding the ability to purchase the service on a monthly basis is a break from the traditional yearly membership required in the past. Another foreshadowing of the future perhaps?

Then Amazon Launched what amounted to a YouTube Rival with its Amazon Video Direct (AVD), which although it launched with only publishing heavyweights and no record labels, provides an interesting outline of how it will pay content partners, as well as how it will take down videos if copyright infringement occurs. AVD gives partners the option to upload their content to Amazon Prime Video (available to tens of millions of premium tier subscribers), make it available as an add-on subscription through its Streaming Partners Program, offer it as a one-time rental or a one-time purchase, or make it available to all Amazon customers, which is ad-supported like YouTube.

According to Variety, the Prime Video option pays video owners a 15 cents per-hour royalty fee in the US and 6 cents per-hour in other territories, but that appears to cap at $75,000 per year. On top of that, Amazon will also pay partners a 50% royalty of the retail price from one-off purchases and rentals. As with YouTube, Amazon will pay the partner 55% from any ad revenue received. Amazon will also distribute $1 million a month to the makers of the 100 most popular programs viewed by Prime members each month. Regardless of the percentages, providing a roadmap for how content contributors get paid sure looks like Amazon is setting up for something bigger down the road. [Read more on Forbes…]

Indústria Da Música Problemas Com "Big Data"

The Music Industry’s Big Data Problem

First of all thanks to my friend 

•  Bobby Owsinski

One of the hopes that digital music brought was for a faster and more accurate way for everyone in the food chain to get paid. That sounds good on paper, but unfortunately hasn’t quite panned out the way anyone in the industry expected. While it’s true that it’s easy to count online sales and downloads in the digital realm as well as streams and views, digital accounting lags far behind the expectations of artist, label or publisher alike. But now, music’s big data problem is beginning to be changed thanks to the efforts of companies like Kobalt Music and DistroKid, a trend that hopefully will be adopted by the rest of the industry at some point.

One of the major problems in the current world of music big data has been that although the streaming services could provide accurate info to labels and publishers, it came in a format that was incompatible with their accounting systems. That meant that all those reams of data (more than ever, thanks to the services ability to granularly collect everything)  was delivered in stacks of hard copy, which then had to be manually input into the label or publisher’s system. And of course, the problem was that the person doing the inputting was often an intern or a low-on-the-totem pole employee who was not equipped to deal with some of the more complex decisions that would come up in the course of inputing, which lead to inaccurate statements for artists and songwriters. And let’s not forget the inevitable human error that goes along with manual data entry that didn’t help matters.

This is a problem that continues to plague the majority of the industry every quarter, and in some cases, every month. In fact, many publishers secretly complain that the cost of the manual labor involved exceeds their revenue in many cases. Still, it’s their fiduciary duty to carry on despite these difficulties.

Now to be fair, accounting software systems are expensive, usually custom designed, and take a very long time to both implement and overcome their inevitable growing pains. While changing to something that’s more digitally compatible is in everyone’s best interest, it’s still a painful process, both financially and morale-wise. It’s not a remodel, it’s almost a full tear-down and rebuild.

However there is a light at the end of the tunnel. A few years ago Kobalt Music, lead by Swedish entrepreneur Willard Ahdritz, launched the Kobalt Portal, the first online dashboard that Kobalt artists and songwriters could use to discover their earnings in a timely fashion. In fact, the portal has now been turbocharged so it can even report in real-time, an innovation that has attracted over 8,000 artists and songwriters to the service, including such heavyweights as Paul McCartney, Prince, Gwen Stefani, Bob Dylan, Tiesto and Kelly Clarkson, among many others. [Read more on Forbes…]

5 Coisas Que Os Compositores Digitais Precisam Saber Sobre Orquestração

5 Things Digital Composers Need to Know About Orchestration

First of all thanks to Dan Hultman 

for this article.

About the Author: Angelina Panozzo is a Jack of all music, and a master of Netflix and video games. Composer, performer, and journalist, she wanders around lost a lot of the time. You can catch her on her website or on her blog, Musically Notable. She’s also on Twitter and Instagram.

Digital composition is a land of endless possibility, filled with electro-acoustic marvels, more samples than you can ever own, and the ability to create just about anything with the right equipment, a fast processor, and some patience. As the video gaming community continues to grow and expand, more companies will need composers for their games, and that’s great news for us.

Still, even with buttons, knobs, and filters galore, there are some essential things to know about the orchestration and arranging of music, even when it goes from birth to completion in a digital format, never leaving your studio (or half-baked music desk in the bedroom, in my case).

The Pyramid of Sound 

Just because you had 47 flutes and one trombone in your middle school band doesn’t mean that’s the best way to do things, (said one of those 47 flute players). With the way that acoustics and ears work, higher frequencies are much easier to discern. They float over the top of ensembles, and these instruments (flutes, violins, etc) can be extremely pervasive in a piece of music. If you think in terms of food like I do, your bass instruments are your grains, vegetables, and fruits. Your mid range instruments like tenor saxophones, violas and the like are your dairy and your protein, and the oils, sugar, and fat are the highest of the high. You need them all to have a thick, beefy sound.

Some techniques will always sound comical

I think we’ve all learned this the hard way at some point. About 8 years ago, I wrote a percussion piece with a xylophone and 12 other pitched and non-pitched percussive instruments. The piece focused on texture rather than melody, and at one point I decided to use quick running notes on the xylophone.

It sounded like Bugs Bunny was running from Elmer Fudd.  (Or like this clip.)

Strings can do more than just sustain

Composers love strings, because they never need to take a breath. They can also provide stunningly gorgeous soundscapes, full of righteous swells and lonely, solitary, pining melodies. With the advent of decent sound libraries, anyone can have the sound of an orchestra without leaving their half-baked music desk in the bedroom.

It’s important to remember the enormous amount of sounds that a string instrument can produce. No, not all of them have been successfully replicated into sound libraries, but the more common techniques like pizzicato (plucking the strings like a guitar) have, and you should use them, because it will sound awesome.

Budget permitting, you could always snag a string player for an hour’s worth of recording – or if you have friends that play for fun, bribe them with pizza and beer.

Um, maybe wait until after the recording to break out the beer.

If you ever want this music to be played live, keep the humans in mind

Basically, if you want your music to be performed by actual living, breathing humans, you should read up on some orchestration texts to become familiar with the limitations of the instruments you’ll be using. I love my copy of Alfred Blatter’s Instrumentation and Orchestration – I’ve had it for 6 years and not a week goes by that I don’t flip it open to check something or remind myself of something. It’s way more user friendly than the Rimsky-Korsakov (for non-classically trained musicians), and it has pretty much any instrument you’d want to use, including things like brake drums, guitars, and jaw harps.

If you’re using woodwinds (or voices, for that matter), remember that they have to breathe sometimes.

Horns are really picky about ranges and jumps, and piano players only have 5 fingers on each hand (unless they come from Gattaca).

Right now you’re writing some loops for a small mobile game, but if it blows up and goes viral, you might (will definitely) have musicians hammering your inbox asking for the sheet music. Video game music is relatable and people love it – why do you think Lindsey Stirling’s rendition of the Zelda theme has over 26 million views?

Sometimes, less is more

With the pyramid of sound firmly in mind, consider that an ensemble of flutes and violins might not sound as full as you’d like it to. Doubling up melodies in the bass can make them sound muddy, and adding 142 kinds of snare drum might not be effective.

Of course, there’s always an argument for intent and musicality – maybe you want those flutes and violins to sound shrill because there’s a murderous ghost on the loose. Maybe you doubled the melody in the bass because the character is wandering around in a swamp. Maybe the drums are meant to scare the bejeezus out of you – that’s all fine.

Learning orchestration and arranging is like learning what the “rules” are, specifically so you can break them. If you know what to expect, you’ll never be surprised when you hit playback, and you’ll waste a lot less time reworking stuff to sound the way you want it to.

Onward, fellow composers, and make music for the gamers of the world!

Porque Você Deve Tratar Sua Carreira Musical Como Se Fosse Uma Startup?

Why You Should Treat Your Music Career Like A Startup

Besides both being challenging career options, being a musician and running a startup have quite a fewsimilarities. In the following article, we look at some of the commonalities between the two, and important rules to follow in order to find success in both.

First, thanks to Rory Seidel on Landr

The music biz is still the wild west — Here’s how to be an outlaw.

Howdy stranger.

Music promotion and growing your career as an artist is the most difficult thing you can do on this earth (trust me, I know).

I’d argue that growing a startup is the second hardest. (I know about that too).

For some reason I’ve been fortunate—or crazy—enough to try music and startups. It turns out it’s a lot easier if you learn from both.

They each require constant GROWTH. That six letter word that that can’t be ignored in any career — be it creative or business. Or creative business.

Here’s what I’ve learned, and what you should too:

MAKE A PLAN

This sounds obvious, but let’s face it: musicians aren’t the best at thinking ahead.

We live in the moment. And that’s fine.

But a little foresight goes a long way. Especially when it comes to the lifecycle of recording, releasing, promoting and touring.

Every good startup has a roadmap — or in musicians terms a longterm plan (hello dreams!).

They also have a short term plan (reality!). Just don’t be afraid to be fluid— ’cause when life happens, you need to be able to adapt.

RELEASE FAST

Think of it this way: you spend 3-years working on your first record. But then you realize that your brand of obscure underground music resonates with no one.

Music changes at an insanely rapid pace, the internet decides the speed of consumption and taste.

So how do you stay ahead of the curve? Easy. Release your music while you’re making it.

Publish it to SoundCloud. See what resonates with your community, your audience, your friends.

Take the feedback you get and make more music. Your community is a super supportive laboratory where you should test all kinds of stuff. When it doubt test it!

If something works do it again—but better. If it fails then ditch it quick.

Release constantly and listen to your audience. They will guide you to your best work.

STAY HUNGRY STAY FOCUSED

Remember that roadmap from your original plan? Use it.

Take 5 minutes a day to be inspired by your hopes and dreams. Don’t be afraid to be hungry.  Sacrifice in the name of your art.

Work in the moment and remember why you started creating music in the first place.

Stay in and work on your projects instead of going out. It’ll pay off faster than you think.

FAIL EARLY FAIL OFTEN

This saying gets thrown around constantly in business but it’s essential to quick growth.

People are afraid of failure. But as the startup gods have taught us: Failure is awesome!

It sounds weird but think of it this way: you learn a heap load more from failure than you do from mediocrity.

In mediocrity we pat each other on the back, learn nothing and don’t grow.

In failure we have no choice but to look at what can be done better, pick up the pieces and go back to the drawing board knowing what to avoid.

USE TECHNOLOGY

Startups are not afraid of technology (probably because they are too busy making it).

But musicians often are. Don’t be afraid. There are tons of hyper useful and creative music technologies being developed right now.

Get used to the idea that good technologies exist to make your life better. It’ll open up a whole world of possibilities.

Native Instruments, Ableton, LANDR, SoundCloud and Echo Nest are a few examples of technologies that are pushing the envelope to help you.

And with new music tech popping up daily there’s no sign of it slowing down. Get involved or get left behind.

COLLABORATE

Think Jobs and Wozniak — Lennon and McCartney. Kraftwerk or the way Kanye manages a teame of hundreds.

You need people around you. You need them to bring out the best in you, and you need to bring out the best in them.

The role of the conductor is often under regarded.

BE DIGITAL

There’s a community for everything online. The sooner you find yours, the more successful you’ll be.

Look at the way Radiohead sells records. From booking a tour to setting up a website, you should be pouring most of your promotion time into music promotion. That means digital marketing, communities, sales and PR.

Don’t underestimate IRL. Hit the road and get involved face to face. Just make sure to update your Instagram as you go.

Having an antiquated business plan for your music career won’t cut it any more — you need a lean startup plan with smart strategists (AKA awesome bandmates).

So make a new plan. One that fits today AND tomorrow. And enjoy some rapid growth.