TONSTURM - Libera Novos Efeitos Sonoros - Criaturas Ferozes!!

TONSTURM Releases New Sound Effects Library - Ferocious Creatures

This library serves you all the roaring, growling, slobbering, squealing, chirping, grunting, choking and gasping you´d ever need to create fascinating and rich sounding creature and monster sound effects or to turn any of your sound design to the dark side. Recorded with up to 100kHz frequency range due to the SANKEN CO-100k microphone, the sounds bear maximum twist and bending possibilities. Simply pitch and zoom into the sound and discover all the feral, brute and ferocious bits waiting to be discovered.

For this library we unleashed the beast in us to come up with the most terrifying and convincing creature voice effect library available.

Besides torturing and strangling our own vocal cords we brought in a professional death metal singer, friends and even family support. But for the main part of this creature voice effect library we worked together with Olof Johnsson. Olof is a professional voice artist and he provided creature sounds for Peter Jackson's "The Hobbit: The Battle of Five Armies”. He is able to perform an amazing range of realistic creature sounds from tiny chirping critters to gigantic monsters. We were simply mesmerized by his performance and came to the conclusion Olof must have some kind of magic, organic vocal shift and transformation effect implemented into his vocal chords.

All performances were captured with microphones that feature an extended frequency range. Besides the Sennheiser 8000 series we equipped ourselves with the Sanken CO 100k microphone especially for this library project. Recording and mastering the creature performances with the Sanken CO 100k was a revelation, as it captures a pristine and clean frequency spectrum up to 100 kHz! When recorded in 192khz it is a pure joy to zoom endlessly into the sound. You can choose to make it as big as a Godzilla eating monster, or pitching it up until the monster becomes a tiny critter eating out of your hands.

For more information and our new trailer please visit: www.tonsturm.com

Os Segredos Do Munda Da Sonoplastia

The Secret World of Foley

'The Secret World of Foley', takes us on a journey into the little known world of Foley Artists, who bring films to life by adding sound effects in post-production. We follow a multi-award winning two person team of Foley Artists and watch as they work together to bring to life a film about one morning in the life of a fishing village on the English coast. With their perfectly timed and precisely judged sound effects they transform the film as they interpret every sound detail, using props from their vast props store. This film shines a light on a little known film art form and is a testament to magic and wonder of Cinema itself.

FOLEY ARTIST - SUE HARDING

Sue discovered foley 11 years ago, whilst working in an administrative position at a post-production company in Soho, London. Having been someone who grew up preoccupied with sound and the details of the everyday her discovery of such a profession seemed fortuitous to say the least. Here was a job that allowed her to pursue her love of the footstep. She immediately began to attend as many foley sessions as possible. Over the years she learnt the techniques of creating bespoke sounds and performing them in sync and with character, gratefully taught to her by veteran artists such as Pete Burgis. In recent years Sue has worked on a wide variety of productions, from big budget feature films to children’s television animation and has also leant her skills to many artistic projects and installations. She is particularly excited to be involved in a film where the little understood world of foley is so beautifully represented.

FOLEY ARTIST - PETER BURGIS

Peter Burgis is a legendary British Foley Artist who has worked on over 150 feature films including the Oscar winning The King's Speech, Gosford Park and Slumdog Millionaire and other major feature films including Atonement, Children of Men, Quantum of Solace, Captain Phillips and the Harry Potter films. He is also a double Emmy Award winner and a triple Golden Reel Award winner.

4 Dicas Para Fazer Composições Para Filmes e Séries de TV

4 Songwriting Tips For SCORING Film and TV Placements

First of all thanks to Jamie Leger for this article.

Many of the traditional income streams for Songwriters and Independent artists have changed along with an evolving New Music Industry landscape.
Today, one of the most substantial and DESIRED income streams is in the licensing and placement of an Artist/Songwriters music in Film, Television, Advertising, and Video Games.

These opportunities bring front-end licensing payouts, which can be LARGE, as well as any back-end royalties.
The other glaringly significant benefit is that of the relationship established with the receiving company or publisher, not to mention the credibility of building a reputation through placements and credits in the real world.

But how do you know if  YOUR music, a sure-fire SMASH destined for radio play and blockbuster success, is appropriate for Film and TV Placement?

Well today we are going to delve into some songwriting tips and optimization concepts to help you take what you have, or, use what you ALREADY know-to write new songs or rewrite existing ones which give yourself a better chance at scoring a sweet placement and handsome paycheck for your hard work.

Today, we’ll cover 4 Key Writing Tips For SCORING Film and TV Placements:

1) Pay Attention To What’s Working
Wow. This one couldn’t be more obvious. But it’s worth stating over and over again. See one of the GREAT things about the Music Industry is that ALL the information is freely available to listen to and study.
It is a good idea for you to REALLY understand what is being used out there, and WHY. It won’t take long until you have an intuitive grasp for which stuff might work for which opportunity. Once you get to this level, you will be leaps and bounds ahead of those who haphazardly submit any-ol-song to any-ol-opportunity, just HOPING that maybe something will hit.

Exercise:
Choose one-to-three prime-time DRAMA Television shows to study for several episodes, or even for a whole season. Place a pillow case, or maybe a bed-sheet if you have a BIG-SCREEN over the TV so you cannot see, but still can hear. Watch, or LISTEN, with a notepad and pencil. Try to describe both the MUSIC, and the scene that the music is placed in.
Try to be AS descriptive as you can, using as much vivid imagery and emotional detail as possible.

2) Label and Tag Your Songs Well
Whether one of your songs is selected from a Music Production Library, a hand-selected by a referring 3rd party, or shopped through a song-plugger service or music publisher; Be SMART and label your songs with the person who’ll be “flipping through the pile” in mind.
As Robin Frederick says – by suggesting a character, situation, or action in your title you can make your song a natural for film and tv placement.
Obviously, “Track 3″ is a no-go, but for example, Hot Summer Night, is a title that would give a music supervisor or director a good frame of reference of what the theme of the song is about very easily.

Exercise:
While watching/listening to your selected TV shows try to sum up the action, characters involved, or the situation. Also, try to name the emotions felt during a scene, in descriptive words.

3) Write Songs With Universal Lyrics
Everyone always harps on universal lyrics and many think that universal means VAGUE or CLICHE. It does not.
Universal lyrics mean that MOST people can relate to it in some way. It’s about expressing and describing the EMOTION underneath a specific afternoon you and your girlfriend spent at the fair on madison avenue while eating cotton candy and talking about your favorite books…
Universal lyrics = Explaining the feelings of a fantastic day and using non-specific imagery and emotion. Which everyone can relate to.
It’s simply a matter of getting to the heart of a specific experience or story that you are trying to tell, and telling it so that others can receive the emotional message you are trying to express.

Exercise:
Take a song that you’ve written that was both personal and overly specific. Identify the underlying “theme,” and drill down into the emotional message. Rewrite that song with more universal lyrics so that you are focused on translating a feeling or common experience by communicating the “universal aspects” which underlie the specific elements used in the song.

4) Express One Clear Emotion
Your music should convey an emotional statement or deliver a vibe that translates to a feeling, atmosphere, or mood.
Using major and minor chords can directly impact the mood of the song. Use this to support and enhance the message and emotion you are delivering so that it is cohesive.
If you are purposefully trying to “break the rules” i.e create an defiant contrast to cheerful lyrics by creating a dark or sullen musical atmosphere, or vice versa, then only do that once you know enough to consciously do it. Until then, try to make everything work together using all the elements of your craft to express ONE cohesive emotional message or communication.

Exercise:
For the next song you write, whether you create the chord progression OR the lyric first…
Consciously be aware of, and describe IN WORDS, how the music supports the emotional message of the song.
Remember, it’s ALL about communication.

Now go and try these out for yourself, and be sure to tell me what you found, didn’t find… Worked, didn’t work. Let me know if this was helpful or not!
Is there any other tips and ideas you’d like to add or expand on?

Youtube Paga Bilhões, Mas a Indústria da Música Diz Que Não É O Suficiente

YouTube Pays Billions, But the Music Industry Says It's Not Enough

First of all thanks to Mathew Ingram for this article.

Record labels and rights-holders say the video streaming service should be forced to pay more.

YouTube often seems a bit like the allegory of the elephant and the blind men, each of whom describes a different part until it sounds like a menagerie of completely different animals. For some artists, the video service is a godsend—a way of reaching their fans and of generating revenue easily. For many users, it is a fun and efficient way to stream music. The music industry, however, sees it as legalized theft.

Record labels and music distributors, along with some prominent musicians such as Taylor Swift and Paul McCartney, have been putting on a full-court press over the past few months to push the latter viewpoint, arguing that YouTube and its parent Google (which in turn is owned by Alphabet) systematically undervalue music.

According to these groups, YouTube happily looks the other way while people upload pirated versions of songs, makes it too difficult for artists and their representatives to remove them, and doesn’t pay enough even when it does share revenue with rights-holders.

And the tool it uses to help it accomplish all of this is the evil Digital Millennium Copyright Act, which provides so-called “safe harbor” against copyright claims for companies like Google, and which these groups say should be rewritten.

One often-repeated criticism of Google and YouTube is that they don’t really talk much about what they pay artists specifically. The latest information from the company probably isn’t going to dispel those complaints much, but it does provide some interesting numbers.

According to a PDF document it is circulating to media companies and journalists, entitled “How Google Fights Piracy,” YouTube has paid a total of $2 billion since its content-tracking Content ID system was introduced in 2007. In late 2014, it said in a similar report that the number was $1 billion, which suggests that it has grown by $1 billion in the intervening period.

Under the Content ID system, which artists and record labels can opt into, if a song is detected and identified as being copyrighted, the rights-holders can have it removed or they can choose to keep it on the site and be paid using Google advertising and share in the revenue. In the new document, Google says that more than 90% of music owners choose to make money from their content.

From Google’s point of view, this is a huge boon to artists and record labels—money they would otherwise never have had. The music industry, however, sees it as being far less than they should have gotten.

The subtext to most criticisms of YouTube is the idea that it should be paying as much as streaming services like Spotify pay. But Google’s service relies on advertising revenue while streaming services pay a specified licensing fee per song. Should one type of business automatically pay the same as a completely different kind of business? That’s one key question in the debate.

The other complicating factor is that YouTube’s advertising revenue has been falling, even as the number of streams it serves has risen sharply. The combination of those two factors has cut the amount it pays to music rights-holders, since it pays a proportion of revenue rather than a set amount.

A recent report from Midia Research shows that while YouTube’s payments rose by 15% last year to $740 million, the number of music streams climbed by more than 170%. As a result, the amount that YouTube paid per video dropped by more than half, to $0.001. The company’s critics are essentially arguing that the company should somehow be forced to pay the industry more.

In Spotify’s case, the company paid about $1.8 billion to record labels and rights-holders last year, more than twice what YouTube paid. This is being held up by the industry and YouTube’s critics as the “right” amount. However, that also represented more than 85% of Spotify’s revenue—and the payments that the company makes have led to huge losses that show no sign of stopping.

It’s the same for almost every other streaming music service, whether it’s Rdio (which went bankrupt), Pandora, or Deezer. The traditional recorded-music industry is effectively siphoning revenue from every company in the business, and statistics show that most of that is going to labels and other intermediaries, not to artists.

YouTube’s critics would undoubtedly argue that the service is owned by a huge, multibillion-dollar entity, and therefore it can afford to pay far more than it is without any risk of going bankrupt, and that it should do so regardless of whether advertising rates are falling.

But should the company be required to pay 85% of its revenue to the music industry, regardless of whether it is actually making money? And should the Digital Millennium Copyright Act be rewritten in order to force it to do so? Those are just two of the billion-dollar questions that are at the heart of the war of words between Google and the traditional music business.

Minha Trilha, Efeito Sonoros e as Vozes - Produzido e Gravado no Power Field Studio

Video Game Demo - My Soundtrack, Sound Design and Voice Over

Produced and Recorded at Power Field Studio by Bruno Cantinho

Hi Everyone,

As following is one more work done in my studio.

This was a demo made for a client where I created, recorded and produced the soundtrack all effects and did the voices of the Monster and the Dragon.

I am here available for more work. Get in touch.

Visit my page on Facebook, Twitter and see more videos on my Youtube channel.

See you

O Album Esta Morrendo, E Boa Viagem!

The Album Is Dying, And Good Riddance

First of all thanks to my friend BOBBY OWSINSKI  for this article  

The music business was once all about the single song, transitioned to the album, and looks to be transitioning back again, as album sales sink lower and lower. While the writing may be on the wall that the concept of an album may be as outmoded as a buggy whip, artists, bands and record labels continue to hang on to the idea rather than looking at the data before them. Like it or not, the album is clearly dying.

According to Billboard quoting the Nielsen Music mid-year report, album sales have fallen by 16.9% so far this year, but even more worrisome is the fact that albums by current artists aren’t catching on, falling by more than 20%. Digital album sales and CD sales continue to fall like a rock, with only vinyl sales increasing (although the growth has slowed to 11.4% with just 6.2 million sales – hardly enough to write home about in the grand scheme of things).

The fact of the matter is that in this Music 4.0 world we now live in, is there even a reason for an artist to automatically make an album without considering some other alternatives first?

Albums are expensive and time consuming to make and, for the most part, amount to a lot of wasted effort as consumers only listen to one or two songs (the singles) anyway even if they buy the album. Most people that get their music from a streaming service will end up cherry-picking the most visible songs (again, the singles), and will never experience the rest of the album cuts anyway. Even if they do, chances are they’ll only listen to each a few times at most, and in most cases, not at all. That’s a lot of wasted effort for so little in return.

The Album In The Age Of Digital
The album concept may actually have been over for a lot longer than it seems, since the sales numbers have been propped up artificially since the beginning of the digital age. Track equivalent-albums, where 10 downloads equal one album sale, never really represented a true album of 10 songs. Most of the time one or two songs that happen to be from the latest album release were downloaded over and over again, but to label bean counters, that somehow amounted to a purchase of a real album. Move ahead in time to the present and stream-equivalent albums (or SEA, where 1,500 streams equal one album sale) presents the same dilemma.

While this might have made a convenient apples sort-of to apples data point that made a balance sheet look good, the problem is that it doesn’t reflect the reality of 80 to 90% wasted resources, since most of the songs of an album are ignored both internally by the label’s marketing department, and by potential listeners. Still artists and labels insist on making a product that’s increasingly becoming irrelevant to current audiences. 

INXS - Documentário Sobre Os Últimos Dias De Michael Hutchence Sendo Lançado

New Michael Hutchence music, documentary about INXS singer's last days being Released

First of all thanks to Danielle McGrane for this article.

Previously unreleased songs recorded by Michael Hutchence and a documentary on the last years of his life are set to be released over the next year.

Sydney entrepreneur Ron Creepy, who runs Kings Cross studio and venue The X Studio, told AAP he has spent the last two years working on the project alongside LA-based record producer Danny Saber.

"I heard some time ago about some unreleased music that was sitting out there and then I approached (Hutchence's) trust directly," Creevey says.

A total of 15 songs will be released.

Lead singer of INXS, Michael Hutchence (centre), in the early years. Photo: domain.com.au

"At least five songs are brilliant," he said. "There's going to be two duets that will come out with two very big artists that I can't legally name at the moment and then there's singles he did himself."

Saber, a producer on Hutchence's self-titled solo album released in 1999, says he and Hutchence had been working on music together not long before he died.

"Me and him sort of connected and started writing towards the end. It's sort of like a little treasure trove of stuff – essentially there were vocals and ideas and that's the stuff that I'm reworking and we're going to be releasing," Saber told AAP.

Creevey has also been gathering artefacts and documents belonging to Hutchence to build up a picture of the final years of his life.

Kylie Minogue and Michael Hutchence when they were dating. Photo: Supplied

Along with diaries and notes of Hutchence's, Creevey says he also developed film in a disposable camera the singer used not long before he died.

All of this will be used in a documentary that Creevey plans to release next year, to mark the 20th anniversary since Hutchence's death.

When news first surfaced in May of a potential Hutchence release, INXS manager, Chris `CM' Murphy, threatened legal action against anyone who released anything under the INXS and Hutchence copyright.

"I do know every single individual and or company who interfere with INXS/Michael copyrights are about to find themselves in very deep legal trouble," he wrote in an email to AAP.

Creevey denies that Murphy has any claim over the new music.

The first song is set for release before Christmas, close to Hutchence's 19th anniversary in November.

The documentary is due for release next year with the rest of the music to be released in the run up to Hutchence's 20th anniversary.