Industria Works Lança Uma Nova Plataforma Para Desenvolvimento De Artistas Alternativos

Nacional Records Chief Launches Industria Works, 'An Alternative Platform for Artist Development': Exclusive

Tomas Cookman, Founder/CEO of Cookman International, Nacional Records, photographed on June 26, 2015 in his Los Angeles office.

Latin indie guru Tomas Cookman will head Industria Works, a new international “alternative platform for artist development” launching today (Sept. 12), Billboardhas learned exclusively.

Based in Los Angeles, where Cookman runs the storied Latin alternative label Nacional Records and his Cookman management company, Industria Works will also have offices in Madrid and Mexico City. The new company encompasses recording, publishing, artist management, marketing, live events and data analytics, with a suite of services designed "to expand the reach of its artists and clients on a local and global level."

Cookman says that Industria Works will “help define what today’s music market is and be part of it.

"I have long felt that there was a need for a company like Industria Works," adds Cookman, whose Latin Alternative Music Conference (LAMC) has done much to expand the definition of Latin music in the United States in both the Latino and Anglo markets over the last 16 years. "One that can be independent but have the infrastructure and vision to go that much further than has been the norm."

Nacional Records Leader Tomas Cookman on the Label's 10th Anniversary, a Booming Synch Business and Thoughts on Poaching Promo

Rob Filomena, co-founder of MuuseMe, a music licensing service that focuses on connecting independent Latin artists with multinational brands, has joined Industria Works as CFO.

Investment banker and frequent music start-up advisor Frank Gelardin will act as Chairman of the Board of Industria Works. The new company is backed by a group of international investors led by Gelardin’s New York-based Gelardin Capital together with Madrid-based Springwater Capital.

"Our team was particularly impressed by the network and recognition this management team enjoys across a wide number of regions and target markets" Springwater Managing Partner Martin Gruschka said in a statement.

The Industria Works platform launches initially with Nacional Records, Avenir Music Publishing, MuuseMe, Industria Management, LAMC, Los Angeles festival Supersonico, and Trenderscope, which tracks Spanish and Portuguese-speaking artists’ digital and social media impact. Those entities will continue to operate independently under the Industria Works umbrella.

According to Cookman, Industria Works "will continue growing, incorporating additional companies and catalogues that fit within the company’s strategy and objectives.

"Nacional Records will very much exist -- and will grow by leaps and bounds" Cookman says, adding that "expanding the management division is very much a part of the plan."

Animação! Minha Trilha Sonora Efeito sonoros e Sonoplastia. Assista Ao Vídeo!

Animation! My Soundtrack, Sound Design and Foley

Hi everyone! We I did this demo a couple weeks ago for a costumer. I like very much to do it.

Some sounds are already there, such as guns shots, bombs, airplanes from  of beginning until 37 seconds of the animation. The rest of animation there no sound at all so that is my job just to put some sounds designs there.

It wasn't requested any kind of soundtrack, but I decided myself to put something in just because to hear only other sounds design would be a little boring.

I start since of beginning working with a sound track with dark sound low chords in minor. After that I put radio antenna and fan noise. After that I put others sound as you can heard on video animation.

Any comment will be welcome. See you on my next sound track.

Como Se Preparar Para Licenciar A Sua Música? Cada Etapa É Vital

How To Prepare Yourself For Licensing Music: Every Step Listed Is Vital

Music licensing is a very lucrative business. One with no shortage of placement opportunities. Everywhere you turn there’s a company or product that utilizes music to some extent.

As an indie music creator, you have the ability capitalize, but you have to be organized, flexible, patient and willing to cater to the market’s needs. This is a different ball game when compared to creating around an artist.

Here’s some tips you can utilize today to better prepare yourself for licensing.

1. Make Sure Your Music Sounds Good.

I’m not speaking in terms of genre or taste, but more so in terms of sonic quality. You want to make sure your music is mixed properly. This means no clipping, good dynamic range, good levels etc. It must sound good.

If mixing isn’t a talent you possess hire someone to mix your music or start learning how to do it yourself.

I get a lot of questions in terms of who to contact for mastering or does my music need to be mastered. My answer is no it does not need to be mastered, don’t focus on the mastering, focus on the mix because the master is only as good as the mix.

A good thing to do is compare your music to commercial music or a song that you hear being used in the licensing world. If your music doesn’t sound as good sonically then it’s not ready.

2. Who Owns The Rights To Your Music?

Make sure you know who owns the rights to your music. If you working with a band or with multiple writers, then everyone involved with the creation owns a piece of the music.

Here’s a perfect example. If you, Billy and Casey wrote a song together, then you are all co owners, and have say in what happens with the song, unless stated otherwise in a contract.

What licensing professionals need to know

1. who owns a master recording?
2. Who owns the composition?

Why is this important? Because before your music can be used in visual media, the client needs to obtain two specific licenses.

1. Master license (master sound recording)
2. Synchronization license (the right to use the composition)

And without all parties (writers/owners) onboard, the transaction gets stuck in limbo.

visual media = video games, movie, reality TV shows etc.

3. Got Publishing? Sign Up With BMI – ASCAP- SESAC

Make sure you’re signed up with a Performing Rights Organization also known as a PRO. The reason why you want to sign up with the PRO is because they collect royalty payments on your behalf.

If your music is used in a TV commercial and this TV commercial airs several times a day, that’s money in the bank and without being signed up with a PRO, it’s money that you’re missing out on.

Even if the commercial only airs on Saturday mornings between 9 AM and 11 AM, that’s money that you’re missing out on if you’re not signed up with the PRO.

4. Have Alternative Versions Of Your Music

Why? Because it increases the chances of your music being used. A lot of times when you listen to TV ads, you’ll notice that the instrumental plays underneath the dialogue for a few bars, then towards the end, you hear the full song.

This is done because the dialogue for the commercial/TV ad or whatever is important and they need your music to aid the message, and not conflict with their dialogue.

In the event that a music supervisor needs the instrumental version of your song and you can’t be reached or can’t turn it over in a reasonable amount of time, you could miss out on the placement altogether.

There are also times when you have a good song, but it’s not tailored correctly. What does this mean? This means your music isn’t set up to be used in visual media → there needs to be edits and variation.

5. Educate Yourself On The Business Of Music.

Make sure you understand the basic terminology of music licensing as they will be used in your contracts. If you can afford legal representation, I recommend going that route, but if not education is required.

Even if you can afford legal representation, it’s still beneficial to understand the jargon and terms being used. In some instances it’ll save you money, and it makes you a little more marketable (professional).

Big clients like working with people who are professional. Smaller clients will appreciate the Average Joe approach, especially if you can explain things on their level.

Existem Agora Mais de 100 Milhões De Pessoas Pagando Por Música em Streaming.

There Are Now 100 Million People Paying For Streaming Music

First of all thanks to Hugh McIntyre  for this article.

NEW ORLEANS, LA – JUNE 30: ESSENCE Live Host, Dana Blair attends the Apple R&B Rising Event during the 2016 ESSENCE Festival presented By Coca-Cola at Kingsway Mansion on June 30, 2016, in New Orleans, Louisiana. 

During its annual big event, Apple AAPL -2.65% revealed that its streaming music platform has now been able to accrue 17 million paying customers, even though it is only just over one year old. That’s a very impressive number, and it makes Apple Music one of the largest services in terms of paying subscriber numbers in the world. The jump in users is not just good news for Apple, it’s good news for the entire music industry. Thanks to some smaller players making big moves and the larger services collecting millions of new users all the time, the streaming music industry can now claim 100 million paying customers around the world, which is a very big deal for the ever-expanding business.

Just a short time ago, new Spotify hire Troy Carter revealed that his employer now has 39 million paying customers listening to music, which is up significantly from when the company’s CEO tweeted that the Swedish giant had reached 30 million not too long ago. That number is just about the same number of subscribers satellite radio pioneer Sirius XM has collected over the years it has been in business. Add in the tallies of companies like Tidal, Napster, Deezer and a handful of others, and the millions truly begin to add up. In fact, there are probably more than 100 million paying subscribers in the world, but companies like YouTube and SoundCloud won’t reveal the subscription numbers connected to their newly-launched streaming music platforms just yet.

While 100 million is certainly a wonderful marker to pass, there are actually many more people out there streaming away, though not all of them are paying for it. Spotify alone has 100 million users, though only about 30-40% of them are paying for the privilege of ad-free listening. Converting those users already comfortable with the idea of streaming music, while also attracting new users by the boatload, is vital to ensuring that this new form of media consumption is able to survive the coming years.

100 million paying customers means that while there is still a lot that needs to be worked out when it comes to payments, technology, reporting, and so on, streaming music is picking up steam, and the masses have definitely chosen this method as their go-to for accessing music. Streaming music will be better for everyone involved—especially those looking to make a living off the music they create—as the industry grows, and the more people pressing play on songs and paying their monthly dues, the better. This is just one major milestone, and there are sure to be many more in the not-too-distant future, as the rate of people signing up and handing over their credit card information is rising almost as quickly as the numbers themselves.

Conheça A Mulher Que Tem Sido A Engenheira De Som Do Pearl Jam A 24 Anos

Karrie Keyes stands at her soundboard at a show at Boston's Fenway Park in August 2016. From here, she communicates with the members of Pearl Jam to get the monitor mix just right.

Meet The Woman Who's Been Pearl Jam's Sound Engineer For 24 Years

Lots of people have jobs where they make their boss look good. But for over two decades, Karrie Keyes has been making sure her bosses sound good. Keyes is a sound engineer, and her bosses just happen to be Pearl Jam.

"Half our fans, they know who I am because they see me come out on stage," Keyes says. "The 'microphone girl,' because I'm checking the mics."

Keyes (whose last name rhymes with "eyes") is Pearl Jam's monitor engineer, which means she doesn't deal with the sound the audience hears. Rather, she mixes the sound the individual band members hear, through earbuds and speakers, while they're playing live.

"Sometimes it's easy and everybody wants to hear the same thing," she says. "And sometimes it's really difficult, because none of them want to hear the same thing."

From offstage, Keyes communicates with the band, especially lead singer Eddie Vedder, mostly using hand signals. The conditions for her work are unpredictable: Everything from weather and humidity to crowd size and sweat-drenched microphones can change what the musicians are getting in their ears. Over time, she's redesigned her monitor system specifically to suit the band's needs.

Keyes has been with Pearl Jam for 24 years. Her career dates back to when, as a punk-loving teenager at a Black Flag show, she met a sound engineer who offered her a job.

"When I started, it was loading trucks: putting all the equipment back in the trucks, then taking it out of the truck," Keyes says.

She learned to survive on $50 a week, taking any work she could: punk shows, mariachi gigs, gospel festivals. Not every show was great, and as one of few female engineers, she ran into sexism frequently — but she says travel and variety made up for the drawbacks.

"You were gonna go someplace else the next day, so it didn't matter," she says. "That was the selling point: Every day was new and every day had the potential of being an amazing day."

By the early 90s when Pearl Jam exploded, Keyes was on the road a lot. Then, she had twin daughters. While she was touring, their dad, aunts and sometimes a nanny took care of them. It was challenging.

"It took me probably till they were three or four to actually come to terms with, 'You know what, I'm actually a better mother if I'm doing what I love doing.' So that when I'm here, I'm completely here."

George Webb, Pearl Jam's equipment manager and bass guitar technician, witnessed that transition and says he remains impressed.

"That's some serious bravery: doing this job, touring all the time and having two kids," he says. "I remember, you know, when she was pregnant–pregnant on tour. Having babies and raising them and trying to tour at the same time just wasn't an easy thing."

It's rare for sound engineers to stay with a band as long as Keyes has — and it's stillrare for sound engineers to be women. That's why a few years ago, Keyes co-founded SoundGirls, a group that supports and mentors women in professional audio. This summer, SoundGirls held camps to teach young women live sound.

"Everyone's had a mentor, a teacher, a guide," Keyes says. "The crew and the band has earned being here. And we're going to go out and put on a really good show."

A Trilha Sonora E Os Sons De Uncharted 4: A Thief’s End

The Sound of Uncharted 4: A Thief’s End

In this exclusive SoundWorks Collection sound profile we talk with the Naughty Dog audio team behind Uncharted 4 including Audio Lead Phillip Kovats, Senior Sound Designer Robert Krekel, Senior Programmer Jonathan Lanier and Senior Sound Designer Jeremy Rogers.

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SOUND STUDIO	DIRECTOR	ORIGINAL MUSIC
Naughty Dog	Neil Druckmann and Bruce Straley	Henry Jackman

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Synopsis

Three years after the events of Uncharted 3: Drake's Deception, Nathan "Nate" Drake, now retired as a fortune hunter, has settled into a normal life with his wife Elena Fisher. His world is then turned upside down when his older brother Sam, long believed to be dead, suddenly reappears seeking Drake's help. Along with Victor "Sully" Sullivan, they embark on a race against time, across the globe, from the snow-capped peaks of Scotland to the island nation of Madagascar, in pursuit of a conspiracy behind Libertalia, a long lost pirate colony, and its fabled pooled pirate treasure. Nate must also contend with rival treasure hunter Rafe Adler, who has partnered with mercenary Nadine Ross and her PMC, Shoreline, to help him locate Libertalia. Naughty Dog outlined the game's plot as "his greatest adventure yet and will test his physical limits, his resolve, and ultimately, what he's willing to sacrifice to save the ones he loves".

Mini Documentário Na Arte De Masterizar Um Vinil (Vídeo)

Mini-Doc on the Art of Vinyl Mastering

Discussing the subject with accomplished mastering engineers Rashard Becker (who has also released his own music via PAN), Andreas "Lupo" Lubich, and Noel Summerville, a new mini documentary from the The Vinyl Factory dives into the current state of mastering tracks for wax. With a client list between them that includes Apex Twin, Boards of Canada, Theo Parrish, Maxmilion Dunbar, Nicolas Jaar, and Laurel Halo—to name a few—Becker, Lubich, and Summerville provide a good deal of useful insight into the world of mastering for vinyl.

Though just over six minutes in length, Sculpting Sound: The Art of Vinyl Mastering does more than merely skim the surface of the somewhat mysterious, but essential process. Taking trips to talk with each mastering engineer in their own studio, the mini-doc is a quick but informative look into the art of cutting tracks onto vinyl, and more specifically, how the methods have changed and evolved in recent years.