Notícias Da Indústria da Música - Um Apanhado

Music Industry News Roundup

First of all thanks to my friend  Bobby Owsinski

for this article.

Today begins a new  series on the Music 3.0 blog. One day every week I’ll provide a post with links to a number of interesting music business-related stories. Some will be about social media, some about music distribution, some about royalties, and some about record labels, but all will be connected to the industry in some way (or at least you can take the information and use it for the music business). Let’s get started.

Does YouTube change your listening habits? The article thinks it does. In fact, it states that many listeners don’t even enjoy what they’re listening to and are just dialing up sounds for a particular situation. It says that we watch groups of videos clustered into categories, but I’m not so sure why that should surprise anyone.

Spotify lost more money in 2015. It’s making a bunch, but it’s paying out more than it’s taking in. How much longer can its investors stay in the game? Still, it’s the streaming service to beat as it has more paying subscribers than any other at the moment.

Spotify’s playlists are responsible for a billion streams a week. Speaking of Spotify, their playlists are killing it as they’re now responsible for about 4% of all streams on the service. Not only that, they’re paying out around $1 million per day in royalties!

7 digital advertising trends. This is an Adweek post, so it’s written mostly for brands instead of bands, but it still has some useful information. Like you see elsewhere, it predicts that mobile is the way to go and chat is the future, but it also looks at ad blocking and annoying online ads.

We’re spending less time on social media. Especially on Twitter and Instagram. People are spending less time on Facebook too, but still spend over 45 minutes on the service every day.

Facebook is preferred for video viewing. It didn’t take long for the service to catch up to and surpass YouTube, but it’s now the platform of choice for viewing. Only millennials prefer YouTube now, according to this survey.

A key part of digital copyright licensing law is being streamlined. Right now there are multiple lawsuits against Spotify and other services by songwriters because they weren’t notified that their songs were available on the service, which is required by law. The problem is, it’s not really an easy chore for a service as it’s set up right now, and it’s costly, so a new and improved way of doing it online can make a big difference going forward.

Rights that no one talks about. There’s a lot of money being made when an artist’s songs are publicly performed, but they’re not always discussed outside of an attorney’s office. These “neighboring rights” are important though, and are finally getting more attention.

Classic artists are more popular than ever. Even dead artists like Tupac, Prince, Michael Jackson and Elvis are making more money than ever, and superstar artists over 60 like Paul Simon and Bob Dylan are even having hit albums again. What does that mean for the health of the music industry?

Metal still sells. Attendance is still strong for metal concerts, and the earnings for superstars and newcomers alike are surprising.

Each of these posts contain some useful and interesting information that I hope you’ll enjoy. Let me know if you like this format, and I’ll do more in the future.

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.