Os Sons Do Tinder

Designing The Sound Of Tinder

Related Video: Flirting With Sound Design: What Does Tinder Sound Like?

Blips. Bloops. Chirps. Clicks. Swooshes. They’re the sounds behind some of your favorite apps, and like every pixel you see on a screen, they have been meticulously designed to create a particular effect.

Tinder, the landmark dating app, didn't have its own sound. Instead, it used stock sounds in the iOS library. Then Tinder company hired audio branding agency Listen to give the app a sonic makeover, which went live in late July. Cofounders Steve Milton and Brett Volker had to literally answer the question, "what does Tinder sound like?"

Listen's work may be familiar to you in the sound of Skype's app. The designers also have work in Microsoft’s upcoming Hololens augmented reality headset. See what they came up with for Tinder in the video above—and the carefully considered logic that got them to think beyond boinks, swishes, gunshots, and bumpchickabowows (all of which were earnest suggestions in our carefully architected man-on-the-street poll).

Você Consegue Cantar Uma Música Dos Filmes Da Marvel?

Can you sing a song from a Marvel film score?

Marvel soundtracks don't stand out with memorable risk-taking music for several reasons, but Every Frame A Painting names the key culprit: temp music, also called scratch tracks or needle drop.

Most people can't look at a blueprint and envision the building. That's why computer renders for proposed buildings are ubiquitous now. The same is true with filmmaking. In order to sell a cut in the studio bureaucracy, or even shape a scene, it's much easier if the cut has temp music. It's also easier to shape a cut if you use existing music, especially music that has worked well for other films. In the industry this is called "borrowed interest." That's why you hear a million trailers with the same music, whether it was Yello's 80s "Oh Yeah" song popularized in Ferris Buehler's Day Off, or the 28 Days Later theme, or the Requiem for a Dream theme or the Inception theme.

Marvel films almost invariably go with the risk-free option, sort of a musical McDonald's menu where you know exactly what you will get emotionally based on the music matched to the scene.

Tons of great examples in this well-researched video.

• The Marvel Symphonic Universe (YouTube / Every Frame A painting)

O Futuro Do Compositor

The Songwriter Future

First of all thanks to Johnny Dwindle for this article.

It’s interesting to watch human nature during a massive paradigm shift within any industry; a songwriter is no different. We hate change. The more successful we are in any particular field the more removed we are from the undercurrent that is facilitating the change; and the more we fight it.

It makes sense, really, you make money via a certain pipeline or methodology and you get good at it, you have those relationships, you have that “groove” down. When something comes into the market that is disruptive to the status quo, we rebel.

We don’t trust it

We don’t want to start over.

We can’t think about the concept of it except for remembering and waxing about the way it was.

It doesn’t stop disruption from arriving, though.

I like disruption.

The music industry has certainly been disrupted by the internet, Napster, streaming technologies, too much consumer choice, etc.

What does the future of a professional songwriter look like?

Tomorrow will be way different, but it IS better.

Listen, all the answers are not in place yet. Big thinkers are working as we speak to identify and fill some of the vacuums that are being created with these disruptions.

Trust the Free Market

Trust the free market, many people will discover ways to make consistent money selling music on the internet. Then they will figure out ways to bring the supply to the demand. THAT fact we can count on.

If we look at what making a living as a songwriter used to be like, we can better understand the mindset songwriters currently have. Once we identify the old mindset and define it for what it is… which is old, we can tackle what’s going on now.

The old business model provided big bucks to the lucky few who could find their way into the party. The words “Lucky” and “Few” are the key words in the previous sentence because there are only a very limited amount of coveted radio slots to spin songs. So the club was exclusive, man.

If we generalize (yes, I’m REALLY generalizing but you get the point), a hit single, more specifically a #1 single on the country charts, is worth about $1 million of overall performance revenue unless it crosses over to the Pop market, then it is worth more. For the argument, let’s stick to $1 million. Since a #1 single requires “X” amount of radio spins in the same markets, the performance revenue difference between 1999 and 2014 is relatively the same.

Here is where a songwriter suffers today:mechanical royalties.

Mechanical royalties are paid to the songwriter based on record sales.

Let’s study a few of the top selling country records released in 1999 (Just 15 years ago) and 2014, dissect the sales of each (so we can determine the mechanical royalty income), and create some comparative data.

With this information we can calculate a paycheck on gross mechanical royalties for a songwriter.

In 1999 the mechanical royalty rate was 7.1 cents per song. A “cut” on a record would pay the songwriter 7.1 cents for every record sold.

• 100,000 Units sold would generate $7,100 in gross revenue
• 500,000 (Gold) sold would generate $35,500 in gross revenue
• 1 Million (Platinum) would generate $71,000 in gross revenue
• 10 Million (Diamond) would generate $710,000 in gross revenue

These numbers are for ONE song-cut on a record that may or may not be a single. A single, of course, would generate a whole other huge cash register of performance royalties.

Let’s look at a few of the most popular country records released in 1999 and attribute the songwriter revenue to each. NOTE: publishers share of royalties would be 50% and the co-writers would split accordingly; we are just looking at gross revenue.

• Dixie Chicks – Fly – 12 Million Units sold

o   1 song cut = $852,000 in gross mechanical royalty revenue

o   #1 Single = $852,000 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Faith Hill – Breathe – 8 Million Units sold
  

o   1 song cut = $568,000 in gross mechanical royalty revenue

o   #1 Single = $568,000 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Tim McGraw – A Place In The Sun – 3 Million Units sold

o   1 song cut = $213,00 in gross mechanical royalty revenue

o   #1 Single = $213,000 (gross mechanical royalties) + $1 Million (gross performance royalties)

• LeAnn Rimes – LeAnn Rimes – 1 Million Units sold

o   1 song cut = $71,000 in gross mechanical royalty revenue

o   #1 Single = $71,000 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Martina McBride, Brad Paisley, Gary Allan, Reba McEntire, Toby Keith, Keith Urban, and Montgomery-Gentry are just a few all the artists that had platinum records in 1999…so everyone was going platinum…if you didn’t go platinum you damn sure went gold.

Now let’s look at a few of the top selling records for 2013 (the mechanical royalty rate has risen to9.1 cents)

• Luke Bryan – Crash My Party – 1.9 Million Units sold
  

o   1 song cut = $172,900 in gross mechanical royalty revenue

o   #1 Single = $172,900 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Blake Shelton – Based On A True Story – 1 Million Units sold

o   1 song cut = $91,000 in gross mechanical royalty revenue

o   #1 Single = $91,000 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Keith Urban – Fuse – 354,000 Units sold

o   1 Song Cut = $32,214 in gross mechanical royalty revenue

o   #1 Single = $32,214 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Kenny Chesney – Life On A Rock – 392,000 Units sold

o   1 song cut = $35,672 in gross mechanical royalty revenue

o   #1 Single = $35,672 (gross mechanical royalties) + $1 Million (gross performance royalties)

• Darius Rucker – True Believers – 502,000 Units sold

o   1 Song cut = $45,682 in gross mechanical royalty revenue

o   #1 Single = $45,682 (gross mechanical royalties) + $1 Million (gross performance royalties)

FYI, I believe these were all #1 records in 2013.

You see the difference? Record labels are releasing fewer records because they are making less money per record and nobody is really buying records anymore. Sheesh!

Just a quick glance at the difference between songwriter revenues in 1999 vs. 2013 shows that without a #1 single, the revenue is around 10%-18% of what it used to be 15 years ago. You used to be able to make a seriously good living with a cut on a record that would never be spun on the radio but that has significantly changed.

The AWESOME performance royalty revenue is on its way out too. As terrestrial radio continues to erode a hit single will definitely dwindle in financial significance.

So what does the future look like for a songwriter?

I think the outlook is good and certainly accommodating to more writers. Before you really had to be “in-crowd” to get a cut, much less a single. Cuts were rare and singles even more rare…but they paid WELL. So we judged our revenue and/or potential revenue per song or per artist as 1 song had the power to change everything.

The key to success for the songwriter of the future will be volume. The songwriter business model of the future is not really going to have any “home runs” in it, it will be founded on “base hits” instead: lots of base hits.

1 hit song, even right now, has an amazing revenue potential, the kind of financial impact that results in an “Achy Breaky kitchen”, an “Achy Breaky Ferrari”, or an “Achy Breaky west wing of the house”

The future will belong to fragmented, unexciting, financially insignificant revenue streams per song. The “living” we all aspire to make will reside in the aggregate revenue of many songs; many base hits.

Think the true story plot of the baseball movieMoneyball and apply it to songwriting. It’s all about base hits now guys.

I see a smart minded songwriter changing his business approach to coupling with as many artists as they can. Maybe between mechanical royalties and performance royalties (from YouTube for instance) a songwriter will make only $2,000-$3,000 per song, per year. However, there is no velvet rope, no terrestrial-radio-log-jam to limit the universe of revenue bearing opportunities, essentially no tyranny of space.

So ideally, a prolific songwriter could place 20-30 songs a year or more into a pipeline that generates revenue. The revenue could also be consistent meaning that if a songwriter placed 20 songs into the pipeline that generated $2,000 per song each per year they would gross $40,000 in revenue; the next year they could add to that.

It’s conceivable that the songwriter could build up his/her book of business over time well into the 6 figure range.

Keep writing. The world is about to change

As Instalações do Bad Robot - Tudo Sob o Mesmo Teto - Video

The Bad Robot Facility: Everything Under One Roof

Join host Matt Feury at Bad Robot for a discussion on the innovative workflows the teams created to help them commandeer the story and action at warp speed for the upcoming movie, Star Trek into Darkness.

See how concurrent collaboration enables the teams to create more inspired content faster. Hear how the editors create full 5.1 temp audio mixes in Media Composer while they cut. Gain insight into J.J.'s workflow and the special elements that he himself creates. Take a peek at their unique workflow, featuring Media Composer, Pro Tools, and ISIS.

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.