DEEZER Streaming Music Coloca O Poder Nas Mãos Dos Artistas

This music streaming service puts the power in the artists' hands

This story was delivered to BI Intelligence "Digital Media Briefing" 

Paris-based music streaming service Deezer has partnered with music advertising platform Feature.fm to let artists promote their work as sponsored content within the free Deezer app.

The partnership will expand Deezer’s ad revenue potential and give artists unprecedented exposure with ads that (ideally) don’t detract from the platform’s  listening experience:

• Giving artists exposure to potential new fans. Feature.fm’s service melds music discovery with advertising. Artists are able to deliver their songs to targeted audiences. This can help them connect with new music fans, and gives artists added exposure.
• Encourage artists to add their music to Deezer. For artists, standing out music streaming platforms can be difficult given the sea of content that already exists. Deezer has 40 million songs in its catalog – 10 million more than each of Spotify and Apple Music. But the ability to advertise their songs is an added incentivize for artists to sign on to the streaming service.
• Creating a seamless ad experience for listeners. Feature.fm’s song ads are placed natively amid a user’s listening session. Ideally, the song being advertised will be additive – rather than discordant – with the music that the user is listening to, providing a more pleasant experience than the average radio voice-over ad.
• Boosting ad revenues in the process.Sustaining free-tier music services with advertising alone is arduous. Spotify, for instance, generates 10% of its revenue from ads, and free users make up 60% of its user base. The rest of its revenue comes from its premium accounts.

10 Dicas Para Compositores De Como Entrar No Munda Da Música Na TV

Top 10 Tips For Composers Entering The World of Music For TV

Thanks to Tim Rabjohns & Fridel for this article

1) When compiling a showreel we think it is very important that you create one which has sound to picture, and not just audio only.  Also try to and be clear if something is a demo or a real job.  We also think it’s a good idea to use Vimeo as it is more professional, and used by most people in the media industry.. You can also back this up with compositions on Soundcloud (or similar)

2) Follow up.  Although it may sound like the basic thing in the world - when contacting Music production companies - don’t just send one email with no follow up :) Over the years we have received so many emails from hopeful composers, who never get beyond the first contact.  It’s always good to call companies and find out what they are looking for and to try and develop a relationship with people.

3) If possible go and work for the kind of company you want to get work from eg advertising agency or production company.  It may mean not starting in music straight away, but it will give you a good customer base to start with.  This is something that will reap many rewards in the following years.

4) Do some market research before you start sending examples of your work around.  Try and find out who you need to send you work to and what kind of thing they are looking for and what format they want to see it on, eg DVD, an internet link or whatever.  

5) We have also found that making a specific showreel for a specific client is a really good idea - it will help you get the most relevant work to the right people.

6) We think it’s really worth while doing some research on your clients or potential clients - looking at their previous jobs and the styles they usually work with.  We find that one good place to start your search is Linked In - which also helps you see where people move to when they change jobs.

7) There are hundreds of other composers out there all trying to get work - what is your unique angle/what will get you remembered?  Did you do a great piece of work? did you send something unsusual in the mail? did you make a funny making of video for one of your tracks - try and stand out.  Marketing yourself should take at least 50% of your time...

8) Try and get as many face to face meetings with people as you can - it’s difficult to strike up any kind of relationship on email.

9)  A lot of work is based on who you know - so, if you have the chance to socialise with people in the media, this could help a lot.  It will always be more difficult for you to start out if you live in the Outer Hebrides rather than a major City like London or Manchester.

10)  Keep practising your craft - even if it means doing low paid music for student films, or low-end TV work - the more you practise the faster you get.  You will always build up a catalogue of material, which you can re-cycle for other paid work.  Also - it’s worth saying that you are busy and working on interesting projects, remixing or recording etc.

It may take a long time before you are financially self sufficient to compose full time.  You may have to supplement your income with other types of musical work.  However if you have talent and determination it can be one of the best jobs in the world.

Bob Dylan Cresceu Mais De 500% No Spotify Depois Que Recebeu O Nobel De Literatura

Bob Dylan's Spotify Streams Up 500% After Nobel Win

Following Bob Dylan's win for the 2016 Nobel Prize in literature, the singer-songwriter's music has increased by more than 500 percent on Spotify.

A day after Dylan's win, the digital music platform said Friday (Oct. 14) that streams for his songs jumped 512 percent globally. His most-listened song after earning the prize was "Like a Rolling Stone," which increased by 258 percent.

Read more: Desert Trip Exec Jay Marciano Breaks Down How That First Weekend Went

Dylan is the first musician to earn the Nobel Prize in literature. The 75-year-old is arguably the most iconic poet-musician of his generation.

He's the first American winner of the Nobel literature prize since Toni Morrison in 1993.

Shazam Finalmente Adicionou Vídeos De Música

Shazam Has Finally Added Music Videos

First of all thanks to Hugh McIntyre or this article.

2016 has already been a very big year for music-identifying app Shazam, and now a very visually-appealing new feature has finally come to one of the world’s most popular mobile programs. The company recently announced that after all these years in business, video has made it to Shazam. Starting this week, whenever a user Shazams a song they don’t know, the app will reveal the information it always has, such as the artist, song title, etc., as well as a relevant music video. To make this happen, one of the world’s most popular musical apps partnered with video content-focused startup Vadio, which is tasked with bringing video to apps, websites and programs that have been missing out.

In order to begin watching the chosen music video, users will have to actually click the icon, as it does not begin automatically streaming. Once the first video has concluded, Vadio’s algorithm will step in and begin another relevant clip, which both companies hope will spur music discovery. These music video channels can be based on genre, similar songs, or even clips that look alike.

While supplying video content is easy enough for big stars with many proper treatments, not every song that will be Shazamed has a music video. In fact, many of the tracks that users are looking for information about likely won’t, as they might not be big hit singles that were lucky enough to be gifted with a marketing budget large enough to include a music video. Vadio CEO Bryce Clemmer confirmed in an email that for every song that doesn’t have a proper music video attached to it, “The highest quality and most relevant video will show,” which could mean anything from lyric videos to those shot by fans at concerts and performances. 

The initial launch into the video world seems to be a limited one to begin with, as Vadio only has a deal signed with Warner for the rights to play that label’s content. Warner is one of the three majors, and the company controls an enormous catalog of music and music videos, but that still leaves Shazam missing out on content from both Universal and Sony, as well as many independent labels.

With over one billion downloads and over 120 million monthly active users, it’s a bit surprising that it took Shazam this long to decide that video was a good addition. Many of the most popular streaming music platforms have started to focus their efforts on video, and it is looking more like that vertical will help push the future of music. If this initial jump into the video world ends up being popular among Shazam’s millions of users, deals could be struck with other content owners to add to the platform, and with the company having just achieved profitability (at least according to those at the firm itself), the musical giant may have the cash to make video a large and truly important part of the app in the near future.

Cantor Com Alzheimer's Lança O Primeiro Single Aos 80 Anos

Singer with Alzheimer's releases first single at 80

Many thanks to Music New.com

'Songaminute Man' Teddy Mac, who has Alzheimer's, hit the headlines last week with the announcement of his first ever single, 'You Make Me Feel So Young' recorded at the age of 80, and released on the prestigious Decca Records label today. 

The singer also releases today the video to his debut single, filmed at the recent recording session in London, along with B-side 'Quando Quando Quando – the track that catapulted Teddy to fame when his son posted it online this summer – as an accompanying behind-the-scenes video.

Teddy, who has sung all his life, as a Butlin's Redcoat and in clubs around the country, is seen relaxed and happy in the video, doing what he loves. Living with dementia has become increasingly hard both for Teddy, who was diagnosed with Alzheimer’s Disease in 2013, and his family. His son, Simon McDermott, found that when Teddy was singing, he was himself again – full of life and personality, and his unique sense of humour returned. So whenever things became fraught, Simon took his father out for a drive, and a sing-song; their very own 'Carpool Karaoke', around Blackburn. Simon started posting videos of his father singing online, to raise money and awareness for the Alzheimer's Society. They received an incredible reaction, very quickly going viral with over 40m views. Simon’s fundraising target for their Just Giving page was £1,000. He has now raised over £125,120 (eclipsing his fund-raising target by 12512%!).

For his selfless work in raising funds for the Alzheimer’s Society, Simon has also been nominated for Just Giving’s Creative Fundraiser of the Year award.

Jeremy Hughes, Chief Executive at the Alzheimer’s Society, said: “We know music can have a positive impact on people affected by dementia, and that favourite songs or pieces of music can also be powerful prompts for reminiscence. This is clearly the case when Teddy sings and is transported back to his time as an entertainer. We’re incredibly grateful money raised from this single will be used to fund Alzheimer’s Society services like our National Dementia Helpline, which supported Teddy’s family. Teddy’s story shows life doesn’t end when dementia begins, and you can fulfill your dreams even after a dementia diagnosis.’’

Despite often not recognising his own son, Teddy is able to remember the words to numerous songs, which earned him the nickname 'The Songaminute Man'. In today's newly released video, Teddy is visibly connected to his lifelong passion. During the recording session, he was able to momentarily leave his dementia at the door. A natural-born entertainer, his recording was flawless. As Decca Executive Producer, Alexander Van Ingen, said, “Teddy’s voice is truly remarkable for any singer, let alone one 80 years of age. It’s a captivating sound, and full of character and experience; in it you can hear the worldly understanding of a lifetime.”

With the release of 'You Make Me Feel So Young' (made famous by Frank Sinatra) today, Teddy Mac's fantastic voice can now be heard at its very best. Recorded with the Guy Barker Big Band (who has himself toured with Frank Sinatra three times!), both tracks were mixed and mastered at the world-famous Abbey Road Studios. Royalties from the release of this single will go to the Alzheimer’s Society and the McDermott family.

This single also highlights the positive effect music can have on people with Alzheimer’s, and is a compelling demonstration of the extraordinary power of music therapy.

Available here: http://po.st/SAMMONiT

Anyone worried about dementia can call Alzheimer’s Society’s National Dementia Helpline for information, advice and support on 0300 2221 122

JustGiving: https://www.justgiving.com/fundraising/songaminute‎

In addition to a royalty paid directly to Teddy Mac, Decca will pay a minimum of:
(i) 5p from the sale of each permanent download; and
(ii) 10% of all proceeds Decca receives from the streaming of this single to Alzheimer’s Trading Limited which pays all its taxable profits to Alzheimer’s Society (registered charity number 296645) under the Gift Aid Scheme.”

5 Coisas Que Você Deve Saber Para Ter Uma Gravação "Matadora"

5 Things You Must Know to Cut a Killer Track

First of all thanks to Johnny Dwinell of Daredevil Production  for this article.

Artists today need their tracks to compete with what they are hearing on the radio; there is just no excuse for a crappy sounding track.  In fact, if you’re track sounds like shit, then it’s our first red flag as to just how lazy, un-resourceful,  clueless, and out of touch you are with the music business these days; kinda like showing up to a gun fight with a butter knife.  Today’s music is consumed so fast and there is so much of it available that YOU HAVE TO BE FREAKING AMAZING in every way to stick out.  Why on earth would you cut any corners on your artistry??  I mean, aren’t you the one always complaining about how crappy music is on the radio and how YOUR band could do so much better?  If you’re not part of the solution, you’re part of the problem.  Here are 5 really good concepts to internalize before you spend any money recording anywhere that will hopefully help you rise above the fray!

1. Good Demos Are For Songwriters - Demoing your songs as an artist used to be an essential piece of the puzzle to getting a record deal; nowadays, your demos are more a private process of crafting your songs and arrangements to prepare for a master recording session.  Unless you are a songwriter trying to get an artist to cut your song, you are WASTING YOUR MONEY with demos no matter how much cheaper the process is compared to cutting master tracks!  Forget publicly pushing/presenting demos!  Record Labels stopped developing talent a decade ago; so they don’t care about your demo no matter how good your songs are!  They care about your momentum, how many tickets, CD’s, Merch, and downloads u sell.  If you only have $2,500 and you find someone to demo your 8 songs for that price, you wasted $2,500 because that budget will not have been spent on any activity that will create momentum for you.  Relax and save more money or cut fewer songs.

2. Don’t Be Naïve In Your Strategy – It’s FAR better to spend your limited budget on 3 or 4 GREAT tracks than 10 mediocre cuts.  For the love of GOD if you seriously are trying to make a living in the music industry, do your music right or don’t do it at all!  It’s so easy to freak out on what it costs to really make a great record these days, I get it!  The cold hard reality is that you are going to have to spend some money to get this dream of yours going.  The more you cut corners, the more you make it an expensive hobby; so don’t be frustrated because you are the one getting in your own way.  I think of one of our artists named Tanya Marie Harris from Canada.  I remember our first phone conversation, and she said “Johnny, for what you and Kelly are charging me for 2 songs, I can cut a whole record up here…” and my mind went to the pre-programmed response of thinking that we weren’t going to be able to help her, but before I could open my mouth she finished her sentence, “…of mediocrity.”  She approached her project with us as if it was the end of the world and it HAD to be done right.  We ROCKED those 2 songs of hers and she is now blowing up major radio in Canada because she has 2 KILLER tracks.  I wouldn’t be surprised if she ends up with an investor very soon, because she has created real momentum!  Bottom line, her approach has opened WAY more doors for her as an artist.

3. It All Starts With the SONG – This is probably 80% of your problem, your songs suck; or some of them are good and the rest are weak.  If you spend $25,000 recording a lame, crappy song with Mutt Freakin Lange, it’s going to be the most expensive, slickest sounding crappy song on the planet (he would never cut it, but you get my point).  Get some co-writes with some seriously talented writers!  If you are now saying, “but I don’t have any of those where I live” then MOVE!  Like Sam Kinison said, “GO WERE THE FOOD IS!”  It’s quite possible that your songs are very good but maybe just need a little tweaking here is where a good outside ear can make the difference!  Which brings us to our next point; Producers.

4. Get a Producer – Make sure that your Producer has a killer engineer or IS a killer engineer; LISTEN to what they have done.  ASK who they have worked with.  Your best friend who just went to school for a recording degree is NOT going to deliver for you this time; he/she needs their 10,000 hours before they are going to be able to get anybody to the next level artistically.  Since you are responsible for your own development now, you have to think like a record label would think.  After you sign with a label, if you are ready to record the next step is PRODUCER SHOPPING so why the hell would you skip this step on your own project?  Do you really think a Major Label would allow your buddy right out of school to produce your first effort??  HELL NO!!!  I recommend using your buddies with the cool home studios for your creative demo process; use them to craft arrangements and songs, but don’t rely on them to deliver expertise because they have none, or they would be working with professionals already.  Kelly went to school and got a recording degree; then he wiped his ass with his diploma and moved to Nashville to learn how to make records.  I was an artist right out of high school and learned to make records in a trial by fire kind of method.  A good Producer is going to help you pick the songs.  A good producer is going to tell you, “NO” to the songs that aren’t ready to be recorded or shouldn’t be recorded at this level.  A good Producer is going to have heart to heart discussions about your lane and then service those collaborative decisions musically.  A good Producer is going to have relationships with the studio musicians and ensure you don’t get “run over” by them.  A good Producer is going to have the psychological skill-set to push you and your band to artistic performance heights you never thought possible.  A good Producer is going to be just as excited about your project as you are!

5. Be Realistic About Your Band’s Musicianship – You would be surprised how many members of your favorite rock bands didn’t actually cut all or any of their tracks in the studio; the ones that did were AMAZING musicians.  In Country music, most professional live musicians, as Godlike as they are live, do not cut in the studio; it’s just a different animal because live is here & gone already and the studio recording is forever.  All too often I see bands come in determined that everyone in the band is going to play on the record.  If your drummer sucks, then we are going to have to manufacture the performance in Pro Tools to get the track in time and find a groove.  If your drummer sucks then your bass player is NEVER going to consistently lock up with the kick drum and this spells S-H-I-T; which means we are going to manufacture the bass performance as well since the drum track has been altered.  You see where this goes?  It becomes a hot mess and your record sounds, well, MANUFACTURED.  You would be better served to make the best recordings possible and let any weaker musicians grow into the role; sorry to say it, but if their feelings are worth the whole record budget you have a problem.

Como Esta Orquestra Virtual Em Londres Mudou A Educação Musical - Video

How This Virtual Reality Orchestra in London Changed Concert-going and Music Education

London’s Southbank Centre and its resident Philharmonic Orchestra recently offered the public better than front row seats. For a few minutes, VR technology put concert-goers in the heart of the orchestra– for free. 

Launched on September 23 in London, the ten-day virtual reality experiment allowed music lovers to delve into an orchestra with a comprehensive sensory experience, and illustrates a wider trend toward a new, immersive era in both live entertainment and music education.

The internet has given us almost instantaneous access to a wealth of information that we might never have had otherwise. Now, VR will give us access to a wealth of experiences we might never have had otherwise.

Gillian Moore, Director of Programming at the Southbank Centre, expressed her hope that this project would help to make classical music to more accessible  in people’s minds.

“This is all part of Southbank Centre’s belief that everybody should have access to art and culture,” said Moore. “We’re constantly trying to find new ways to do that, including the use of the latest technology.”

Next-Gen Backstage Pass

Instead of watching from the audience or just getting a closer look, this Virtual Reality experience placed visitors directly in the action as one of the musicians  amid the conductor and instruments.

“VIRTUAL REALITY OFFERS A MORE COST-EFFECTIVE OPPORTUNITY TO LEARN AN INSTRUMENT WITHOUT EVER PICKING ONE UP.”

The Virtual Orchestra’s VR equipment allowed visitors to the Southbank Centre to attend real-time recordings like the one of the Sibelius Symphony No. 5, 3rd Movement as it was directed by Finnish conductor Esa-Pekka Salonen.

Cognitive Concordance

Visitors were able to step into roles and become performers, musicians or even emulate the Maestro Salonen as she was conducting the symphony. Equipped with VR headsets, concert-goers were taken behind the scenes of the Royal Festival Hall in London and the orchestral interpretation of the Finnish maestro. 

The experience was also complete with “3D audio”, meaning that the instruments directly around the user were louder, and the sounds changed as users moved their heads.

“You are sitting in the front row of the orchestra with the principal conductor Salonen conducting you,” said Luke Ritchie, head the Philharmonia Orchestra digital. “We wanted you to hear what it’s like to sit in the viola section in front of an orchestra, for people to get an insight of the dynamics.”

Potential for School Music Programs

VR experiences like the recent project hosted by the Southbank Centre could be adapted to resident music programs and classes for schools.

Despite research having shown that music encourages cognitive development in children, music programs are often the first to be cut for when schools experience budget and funding issues and instruments along with private lessons are monetarily out of the question for some children. Virtual Reality offers a more cost-effective opportunity to learn an instrument without ever picking one up.

The Future of Concert-going

In the coming years, opportunities to see a concert at home or anywhere in VR as if you were there are going to expand widely. Live Nation, the pioneer in this new kind of service, created in partnership with Citi and the startup NextVR via a 5-year contract, this new offer for music fans, starting with 10-concerts VR series.