Indústria Da Música - Nova Rodada!

Music Industry News Roundup 

First of all thanks to my friend Bobby Owsinski

Here’s some interesting music business news from the last week. There’s a lot going on in the streaming world, but as usual, that’s not all.

Warner Music had it’s best quarter in a long time. Streaming agrees with this major label, and it’s up around 14% over the same time last year. Guest what? It’s all due to streaming.

“Happy Birthday” is copyright free, but what about “We Shall Overcome” and “This Land Is Your Land?” Both are considered national treasures and thought to be in the public domain, but are instead controlled by the daughter of Woody Guthrie. New lawsuits attempt to change that, but what does it mean for copyright law?

Many superstars are going it alone without a manager. Taylor Swift, Bruno Mars, Beyonce and Ariana Grande are using a close tight nit team to guide their careers instead of traditional management companies. Prince was notorious for doing the same thing, and Mick Jagger has essentially guided the Rolling Stones since early in their career. Works for some, not so much for others as Queen and Billy Joel had a rough time after trying the strategy.

Drake’s Views chart dominance is mainly due to streaming. It seems that sales aren’t what they used to be, but I’ve been making that point for a long time.

Spotify is trying to program ads based on your musical tastes. The company is now asking advertisers to submit ads that fit specific profiles to better target listeners on its free ad-supported tier. Creepy or smart?

Song pluggers now target playlists. Song “pluggers” or promoters used to target just radio in order to raise the profile of a song and make it a hit, now they target various playlists instead.

Apple has fixed a big problem with Apple Music. It has moved to fingerprinting technology to help better match your personal music collection to its online catalog. User have been frustrated with inaccurate matches, but this promises to kill the bug.

Downloads will be dead by 2020. That’s what this article predicts as it looks at the downward spiral down of downloadable music consumption. Not analysts believe it will happen this quickly, by the way.

Has streaming broken the UK singles charts? A better question might be, what dos the singles chart now measure, because it certainly isn’t sales.

That’s the News Roundup of what went on in the music industry last week. Let’s see what next week brings.

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Talvez Youtube Não Seja O "Bicho Papão" Da Música Apesar De Tudo

Maybe YouTube Isn’t Music’s Boogie Man After All

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

Artists, bands and record labels have issued an all-out assault on YouTube this year over a variety of issues that mostly stem from what they consider to be low royalty payouts. The problem is, while it’s likely that many of the presumptions leading to the attacks have a basis in reality, their conclusions may be premature.

In the music industry’s eyes, YouTube is a devil that it’s forced to deal with. The service is widely used to market it’s product while throwing off enough revenue that it can’t be easily dismissed, yet YouTube is in a position of strength where the labels can’t easily use their licensing leverage to get their way as they could with other streaming service negotiations in the past. What seems to be true is that content owners are receiving a lower royalty rate for every video view than ever before. In fact, industry analyst Mark Mulligan reports that the per view rate was actually cut in half from 2014 to 2015, and is now down to around $0.001. That said, YouTube continues to pay the industry more money than ever, with almost $2 billion in payments since 2014.

While that may be true, the fact of the matter is that YouTube isn’t nearly as powerful as it once was, and indications are that its popularity for music delivery is waning. According to a recent BuzzAngle report that looked at music consumption from the beginning of the year, for the first time streaming actually outpaced music video views, with the number of streams at 114 billion and video views at around 97 billion.

What’s more, according to the GlobalWebIndex study, young people between 16 to 24 (the traditional driver for video views) are more willing to pay for streaming than older adults, despite indications that only 1 in 10 digital consumers end up paying for streaming music overall. This figure for younger Americans could actually be higher though, since pre-teens and teens don’t usually have credit cards. Many ask their parents to pay for the subscription or are part of a parent’s family streaming plan, so the complete picture here is still a question mark. When you take that into consideration, there may be more young people in that subscriber category than you might think.

Google has certainly taken notice to these numbers and is attempting to increase it’s own music subscriptions by running a sale. First of all, a free 2 month trial period for Google Play is now available that includes its YouTube Red service as well, and Red alone is being offered for just $0.99 for the first three months through the YouTube app. A company running aggressive sales campaigns is reacting to the market, and Google sees the writing on the wall. YouTube is falling out of favor with the demographic that, at least up until now, consumes it the most.

As Melhores Trilhas Sonoras De Filmes De Ficção Científica! Você Concorda?

Best Sci-Fi Movie Soundtracks - Do You Agree? 

Music sets the atmosphere, enhances the drama of events, and highlights character traits in the best sci-fi movie soundtracks.

While music in cinema is new in comparison to the age-old practice of music composition, the process of composing movie soundtracks isn't much different than any other composition project. The clear predecessor of music as a soundtrack to acting is opera, with its fusion of the arts of music and acting. While the methods of transmitting visual information have changed since opera ruled the acting world (the set made of cardboard has become one of digital backdrops and green screens), and sound effects were added (synthesizers, samplers, and various ethnic instruments), there isn’t much difference, in regards to musical needs. The goal of a sci-fi movie soundtrack the same as the music behind an opera: set the atmosphere, enhance the drama of what’s happening on stage, and highlight the specific features of the characters.

The composers of the best sci-fi movie soundtracks have each solved for these aspects in their own way. Someone like Jerry Goldsmith focuses on the general atmosphere of his score, and John Williams gives each character a distinctive theme, but one thing is for sure: all of these sci-fi movie soundtracks have deservedly taken their place among the best.

Interstellar

  

When asking Hans Zimmer to write the soundtrack for Interstellar, Christopher Nolan didn't tell him it was going to be a space movie. He told him it was a story of a relationship between a father and a daughter. It's a very intimate story and at times the space travel here is actually as much of a background to this relationship as it is the main theme of the movie. Due to the fact that it's a look into the past and future at the same time, Zimmer chose to combine both electronic instruments and antique ones, such as a 14th century organ.

Tron: Legacy

The soundtrack for Tron: Legacy was created by Daft Punk. Relying mainly on music from the original Tron, the musicians nevertheless created something new: a fusion of electronic and symphonic music, very unusual even for Daft Punk. The computer atmosphere of the soundtrack set the parameters for creating the music, using such exotic elements as granular synthesis and glitch. Skillfully combining the sound of the orchestra with electronic sounds and effects, Daft Punk create their own world. As a result, the soundtrack is clear, almost mathematically verified, and very accurately conveys the technological atmosphere of the film.

Blade Runner

In Blade Runner's soundtrack, Vangelis uses a whole range of styles like synti, new age, and minimalism, skillfully combining these musical directions that can sometimes seem contradictory. Before the filming started, Vangelis already knew the basic idea behind the film, and was able to create a score based off clear concepts. The use of synthesizers brings a desired flavor of the future era into the atmosphere of the film, and lingering melodic compositions with the elements of ethno are a distinct feature of new age. Finally, the repeating elements are a tribute to minimalism, which at the time was becoming more and more popular among academic composers. The result is a unique combination and a feeling of total immersion in the story.

Star Wars Trilogy

The Star Wars soundtrack is perhaps the most famous sci-fi movie soundtrack in existence: John Williams created something truly extraordinary. Treating the film as a giant opera (parallels have been drawn to The Ring of the Nibelung), he carefully worked out the images of the characters. In Star Wars, as in opera, music is one of the main carriers of action, participating in everything happening on screen. Each character has its own theme, which sometimes manifests itself in combination with other character themes. Created according to the classical models of music, this soundtrack may rightly be called "the first space opera."

Mad Max: Fury Road

Tom Holkenborg fully encompasses the expressive means of both a contemporary classical composer and a DJ in the soundtrack to Mad Max: Fury Road. Using classical instruments, (strings, brass) he paints a gloomy picture of a post-apocalyptic world where the remaining survivors do not know what to do with themselves, fighting for a place in this world without knowing exactly why. The use of modern electronic music devices adds technological elements to this absurd world (absurd in the musical sense too), showing the eternal cyclical nature of what is happening: technology as a means of destruction, rebirth, and destruction again.

Gravity

When Steven Price was invited to work on the music for Gravity, the film has already been in production for three years. Therefore, Price understood what the film is going to be like, and wanted his music to reflect to film and its "feeling of an open space." This concept influenced the music greatly. It was impossible to do anything too edgy: The action in the film runs very smoothly, and any abrupt musical actions would conflict with the film's atmosphere. And although cruel things happen in the film, they happen with a certain grace, and this influences the choice of instruments and style of the composition. In general, the lack of sound in space determined the music of the film. It dives into the "inner space" of the characters, feeling and empathizing with them, and does not distract itself with external factors.

Inception

Inception is considered one of the best Christopher Nolan’s films in all senses, music included. Diving into another world, the emotional torment of the main character, quick changes of scenery—all this requires strong musical support, without which everything happening would be less exciting. The soundtrack escalates, switches to a more rhythmic tempo, and finally results in an excellent track entitled "Time" that reflects the essence of the movie. Immersing himself further and further not only into the levels of a dream, but also his problems, was the main character able to achieve what he wanted so much? As the music subsides, the question remains open.

Oblivion

M83, led by Anthony Gonzalez, did a great deal of work on the soundtrack to Oblivion. It’s an ideal situation when music and film merge so beautifully. The music in Oblivion becomes almost a visual component of the film. There are clear allusions to Daft Punk. It should be noted that the previous soundtrack composed by Joseph Kosinski was Tron: Legacy, and the continuity of styles is quite obvious.

The Terminator

The level of recognition of this soundtrack is probably comparable only to Star Wars. At the early stage of his career, Brad Fiedel was doing a lot of things: composing film music, accompanying various music bands, etc. But he stood out from the crowd by using a synthesizer which, at that time was a rarity. That’s how James Cameron noticed him and he was invited to work on the music for The Terminator. The main theme sounds very convincing and comes inevitably, as does the Terminator. The famous metal strikes were performed by Brad Fiedel himself—on an ordinary frying pan—is it the same metal that will be melted to produce that same T-800?

Back to the Future

A cult film from a cult director, with the participation of an iconic composer. Although a lot of musicians, including Eric Clapton, worked on the soundtrack, most of the work was done by Alan Silvestri. The music perfectly reflects the spirit of an idealized future, where there are self-fastening sneakers, flying skateboards, and the engine which can make you time travel fits in an ordinary car. The use of synthesizers has brought that same sense of an impending future, and the sound of the orchestra brings a feeling of a confident present. 

The Dark Knight Rises

By the scale of their work, the Zimmer-Nolan duo can compete only with the aforementioned duo of Williams and Spielberg. When it comes to the music of The Dark Knight, it is difficult to split the trilogy apart, since the films are interrelated. Each part the film becomes more epic and the music becomes larger-scale. For example, in the final section Zimmer uses new elements that were not present in previous films—a choir and percussion. As a final touch, the music reused an element from Batman Begins—a theme gradually increasing in drama and reaching a great climax.

Planet of the Apes

The soundtrack from Planet of the Apes takes a different approach to writing film music. Written in the traditions of classical music, it conveys the general atmosphere rather than focusing on specific images. This approach was common in the film music of the mid-20th century, and Jerry Goldsmith, who learned from the renowned film composer Miklos Rozsa, picked up his approach. It’s interesting how the role of the strings in the soundtrack is minimized and the piano and various percussion instruments come to the forefront. Through various methods and non-standard sound production (e.g. knocking on instruments), the composer shows us the phantasmagoria of a world in which the apes rule, and people are just animals.

Avatar

This large scale soundtrack, created using many means of modern music technology, was written by James Horner. Before he composed the soundtracks to Cameron’s Aliens and Titanic. The composer collaborated with Wanda Bryant, musical ethnographer, to create the musical culture of the alien race. Horner worked on the soundtrack from 4:00 AM until 10:00 PM every day, admitting that Avatar was the most challenging film he had worked on and his greatest work up until that point. For example, Horner wrote the choir in the Na'vi language separately from the musical accompaniment, and then combined them into a single composition. The choral singing was recorded in March 2008, the music accompaniment in the spring of 2009. 

Sunshine

John Murphy is a self-taught musician, composer, and multi-instrumentalist, who began his career in the 1980s, has worked with many artists, and in the early 1990s began writing music for films. The name of his track for Sunshine—"Adagio in D minor"—displays his love of classical music (Bach, Puccini, etc.) as well as his approach to writing the soundtrack. This is a typical Adagio with large stringy melody and big bars and could well be the second movement of some modern symphony and in general even resembles the famous "Adagio for Strings" by Samuel Barber. Of course a modern movie needs a refreshed version of such classic slow movement, and for this purpose Murphy applied pulsating bits, which makes it sound fresh and original.

The Matrix

Although there is a lot of music used in the film (Rage Against the Machine, Propellerheads, Ministry, Massive Attack, The Prodigy, and many others), The Matrix first and foremost glorified its composer, Don Davis. Studying the film, Davis noticed that the reflection effect is used in the movie quite often: The reflections of red and blue pills in Morpheus’ glasses, Trinity watching the agents putting Neo in their car through the rear-view mirror on her motorcycle, and so on. Therefore, while writing the music, the composer focused on the theme of reflections, combining the orchestral themes with the contrapuntal ideas.

Escape from New York

John Carpenter’s films are often supplemented by distinctive music composed by the director himself and performed on a synthesizer. As a result, the director personally wrote the soundtracks to almost all of his films. Many of of Carpenter's compositions have been recognized as cult ones. His style varies within the pop-rock/new age. In this film the music goes quite smoothly, with a couple of memorable tracks and individual motives, giving the film a stunning atmosphere. 

Warner Para De Vender Para Pequenas Lojas

Warners Stops Selling To Small Record Stores

First of all thanks to my friend 

BOBBY OWSINSKI

In another blow to the mom and pop music store, Warner Music has cut off more than 100 accounts that do less than $10,000 in business per year with the company, according to a post on Pitchfork. That means that in order to have a direct account with Warners to get the best pricing, a store must now do a minimum of $10k per year.

Small stores that can’t hit that limit will still be able to sell Warner products, but it will cost them more, as they’ll now have to purchase from a third party instead. This extra cost will inevitably be passed on to the customer.

The music business, especially the major labels, have always undervalued small retailers, favoring large chains back when they ruled, to the megastores of Walmart and Target today. That said, the lifeblood of the industry has always been the small local retailer, where many artists get their starts with their self-made products.

Today the local record retailer is mostly in the vinyl business, as CDs have fallen deeply out of favor. That said, not all of the accounts shuttered by Warners sold vinyl, and according to the company, about a third hadn’t ordered any in about a year. The company also said that not all were record stores and that some, in fact, were museum gift shops.

Many small record stores who made the cut are nonetheless shaken, and fear that the minimum sales level will continue to rise. If that’s the case, it would put many stores out of business, an ironic self-fulfilling prophecy where the industry complains about not enough sales, but willing buyers can’t find a place to browse product and make the purchase. The same thing happened with the CD, which could have had a much more gradual decline than it’s experiencing had there been more stores with available product. The same might happen again in the vinyl world.

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?