Poderá Baeble Music Crescer Dentro Dos Canais A Cabo?

Can Baeble Music Grow Into Cable's Music Discovery Channel?

INDIO, CA – APRIL 23: Musician Lauren Mayberry of Chvrches performs onstage during day 2 of the 2016 Coachella Valley Music & Arts Festival Weekend 2 at the Empire Polo Club on April 23, 2016 in Indio, California. (Photo by Kevin Winter/Getty Images for Coachella)

First of all thanks to Steve Baltin   for this article.

By the end of 2016 Baeble Music will be a 24/7 cable channel in more than 20 million homes thanks to deals with Comcast, Roku and more. The growth is very impressive for a Brooklyn-based company that began in 2007 as a website dedicated to finding the next cool things in music.

Baeble has risen to national prominence over the last decade by riding on a platform of music discovery, airing early sessions and interviews with bands like Chvrrches, who founder David Moffly calls the Baeble band, and focusing on critically lauded indie and alternative heroes like Thrice’s Dustin Kensrue and Anthony Green. Trending artists on the site now include Aurora, Blondfire, Delta Spirit, Craig Finn, James Bay and more.

Babel and its growth is the vision of Moffly, who I spoke with recently about the company’s expansion, why he likes music on TV when others are scared off by the licensing and his biggest “wow” moments in the near decade of Baeble.

By the end of 2016 Baeble Music will be a 24/7 cable channel in more than 20 million homes thanks to deals with Comcast, Roku and more. The growth is very impressive for a Brooklyn-based company that began in 2007 as a website dedicated to finding the next cool things in music.

Baeble has risen to national prominence over the last decade by riding on a platform of music discovery, airing early sessions and interviews with bands like Chvrrches, who founder David Moffly calls the Baeble band, and focusing on critically lauded indie and alternative heroes like Thrice’s Dustin Kensrue and Anthony Green. Trending artists on the site now include Aurora, Blondfire, Delta Spirit, Craig Finn, James Bay and more.

Baeble and its growth is the vision of Moffly, who I spoke with recently about the company’s expansion, why he likes music on TV when others are scared off by the licensing and his biggest “wow” moments in the near decade of Baeble.

Steve Baltin: What have been your biggest wow moments at Baeble?

David Moffly: I’m 53 years old, so I saw the first demo of ISDN in ’86 in Geneva I was like, “This is unbelievably cool.” [So] the first time we were able to move video that was broadcast quality on a WiFi connection I was like, “Oh my god.” And I think it’s only meaningful to somebody that’s my age that has followed the progression of data and development broadcasting, broadcast technologies and web technology. And then along the way we filmed nearly a thousand concerts and sessions and interviews and every once in a while you get a session that just gives you chills. The one that comes to mind that was super powerful was a session with the artist Passenger. He sat with us and talked about life and death and it was just amazing. And then more recently our session with the Arkells at Sunset here in Brooklyn. Those moments with sessions are few and far between and just high for me on an emotional level.

Baltin: Tell me about your background.

Moffly: I’ve always been in the content-licensing business, whether it’s been in stock photography, stock images. I had a company that I founded and then bought a bunch of companies around it in 2000. It was the stock image business and our bet there was the internet was gonna revolutionize the way stock images were licensed and transmitted around the world. When I bought the company we had 17 agents, when I sold it we had 157 and when I bought the company it was 10 million in revenue. And when I sold it four years and 10 months later it was close to 50 million in revenue. So I had a couple of dollars when I sold it in 2005 and was sitting looking for what was next and saw YouTube and what was going to happen. We went live in 2007 with the first website and our first video we streamed we had to build the flash player.

Baltin: A lot of people are afraid of music on TV because of the licensing costs. What made you go the opposite direction?

Moffly: Why we like music is music’s hard. So you can’t just show up and say, “Hey, I’m gonna be in music.” You gotta have the patience and fortitude to deal with the publishers, the labels, management and the artists. So in the process of being hard there’s significant value creation. Not anybody can do it. You just have to be patient with music and go through the process and in doing that it whittles it down to a very select few.

Baltin: What makes Baeble unique?

Moffly: You can’t pay to be on Baeble, you can’t call up and say, “Listen, I want to be here.” You have to be picked by our team and the team makes judgments on who they think is interesting, who has a story, who has music that deserves to be seen and heard. It’s just fun to watch what is happening with the business and with the continuing evolution and opening of new platforms or for reaching people with the content. We did a deal this summer with a new cable packager that has taken Baeble and has packaged it into a 24/7 linear cable channel. They are going live now and have commitments with 51 different cable operators for Baeble to be a channel in households across the country. So that’s really exciting.

Baltin: Where does Baeble go as a cable channel?

Moffly: The pitch with the cable operators is instead of you having to pay Viacom per month for the privilege of being bored to tears by Palladia, you get Baeble and you get to keep a percentage of the ad sales that are generated from this channel. So for small and mid-tier cable operators it’s a money-making opportunity. It’s a distribution opportunity for us and an opportunity to move off the web and into a very defined cable universe where we want to be one of those choices for music when you turn on the television.

Efeitos Sonoros 6 Fatores Que Desempenham Um Enorme Papel Em Um Filme De Terror

6 Factors That Play a Huge Role in Designing Sound for Your Horror Film

First of all thanks to V Renée for this article.



Sometimes, hearing stuff is scarier than seeing stuff.

One interesting thing about horror film, at least in terms of how it compares to other genres, is how it relies so heavily on both the visual and aural side of filmmaking. To shock and terrify their audiences, horror filmmakers will not only utilize visual elements, like blood, gore, and super long cutlery, but sound elements as well, like screams, footsteps, and any number of ominous tones. This is why it's so important to understand how you can set the stage for your horror flick using sound design, which is something RocketJump Film School explains in this helpful video:

Though these elements technically apply to virtually all films, the horror genre (as well as thrillers, sci-fi, etc.) tends to take everything up a notch when it comes to sound. So, let's take a look at several concepts talked about in the video that you should pay special attention to when designing the sound for a horror film.

Backgrounds

The sounds that make up your background helps place your audience within your cinematic world. Does the scene take place in a large city or out in the middle of nowhere? Is it day or night? Are we on Earth or some distant planet with blood-thirsty aliens? Subtle sound effects like distant traffic, crickets, or extraterrestrial hums do the trick.

The Unseen Character

This is one of the tropes that is unique to horror film—the "unseen character." I haven't seen a scary movie yet that doesn't have one in at least one scene. So, how do you hide a character while revealing them at the same time? You hint at their presence by using sound: footsteps, like the T-Rex stomping in Jurassic Park, scraping and scratching, like Freddy's knives in A Nightmare on Elm Street, or off-screen dialog, like the phone conversations in Scream. And forcing your audience to hear them rather than see them helps build suspense and tension.

Tone

If a sound effect is the vehicle for dispensing information, tone is the packaging it comes in. Is this scene supposed to be scary, comedic, or ironic? The tone of a horror scene may seem obvious, but you should still pay close attention to what kind you're creating with your sound design.

Intent

Not all killers are the same; some are huge and lumbering, while others are crazy and ravenous. So, before you begin adding sound effects to your timeline, think about what kind of threat you're working with and then design accordingly. Your huge, lumbering monster may have slow, heavy footsteps and your crazy, ravenous one might be crashing into off-screen objects in its pursuit of your character's sweet, sweet sanguine life juice.

Proximity

The all too important detail in horror is this: how close is that monster to the character? Keep this in mind as you go about your sound design, but remember, the closer a threat is to your character the more anxious/scared your audience will feel, so if you want to build tension and suspense, you might want to keep some distance between the two and slowly bring the threat closer until BAM! Rusty chainsaw to the face.

Subjective Sounds

Subjective sounds are the whooshes, impacts, and other non-diegetic sounds that represent what the character hears in their own mind. To explain it more clearly, objective sounds are literal, subjective sounds are metaphorical. The video shows a couple of great examples of this: a whoosh represents the passing of a shadow, an impact represents the sudden arrival of the killer.

So, there you go—a handful of sound design elements to get you started. If you want to put what you've learned into practice, RocketJump Film School is sharing the horror scene from the video, as well as some links to free sound effects resources on their website. You can access them here.      

A História De Chuck Berry - Os Maiores Hits Na Billboard

A History of Chuck Berry's Biggest Billboard Hits

"If you tried to give rock and roll another name, you might call it Chuck Berry," said John Lennon (at least according to urban legend). The rock pioneer -- among the genre's founders -- impacted the Billboard charts over such a long period of time that their names and criteria changed over the course of his career. So, while it's hard to name his biggest hit, here's a chronological list of some of Berry's Billboard highlights -- also known as some of the songs that made rock music what it is today. 

"Maybellene" (1955)

Berry's first recorded single (and what's generally cited as one of the first rock songs) spent nine weeks at No. 1 on the R&B chart -- and he only committed it to wax at the behest of Muddy Waters.

Read more: Chuck Berry Announces 'Chuck,' First New Album In 38 Years

"Thirty Days (To Come Back Home)" (1956)

The song, a tribute to Hank Williams and favorite of country stars over the years, peaked at No. 8 on the R&B chart.

"Roll Over Beethoven" (1956)

An explicit rebuke of classical music, the track, which peaked at No. 7 on the R&B charts, was eventually covered by everyone from The Beatles to Iron Maiden.

Read more: Chuck Berry Getting All-Star Tribute at Rock Hall of Fame

"Brown Eyed Handsome Man" (1957)

The B-side -- read by some as a comment on racial tensions at the time -- peaked at No. 8 on the R&B chart.

"School Day" (1957)

One of his biggest tracks ever, the song peaked at No. 3 on the pop chart (the equivalent of today's Hot 100).

"Rock & Roll Music" (1958)

As the fever for rock n' roll grew, Berry capitalized by making rock songs about rock music -- a tradition that lives on today. This one peaked at No. 6 on the R&B chart.

"Sweet Little Sixteen" (1958)

This somewhat questionable track probably sounds familiar -- it's the exact same music as The Beach Boys' 1963 single "Surfin' U.S.A." This version, though, still spent three weeks atop the R&B chart and reached No. 2 on the pop chart.

"Johnny B. Goode" (1958)

This seminal tune, which peaked at No. 5 on the R&B chart and No. 9 on the pop chart, earned a spot on the Voyager Golden Record and in Back To The Future (remember Marvin Berry and the Starlighters?)

"Carol" (1959)

Covered by both The Rolling Stones and The Beatles, this song peaked at No. 9 on the Hot R&B/Hip-Hop Songs chart.

"Almost Grown" (1959)

Listen closely: in the background on this track are a young Etta James and Marvin Gaye, helping it eventually peak at No. 3 on Hot R&B/Hip-Hop Songs.

Read more: Chuck Berry Looks to Record, Admits Future is 'Very Dim'

"Back in the U.S.A." (1964)

This track would be covered by Linda Ronstadt in 1978, reaching No. 16 on the Hot 100.

"Nadine (Is It You?)" (1964)

This influential track (critics have noted its lyrical similarities to Bob Dylan's Bringing It All Back Home, released the following year) peaked at No. 7 on Hot R&B/Hip-Hop songs.

"No Particular Place To Go" (1964)

This single, which peaked at No. 10 on the Hot 100, was covered by Mos Def, who played Berry in the film Cadillac Records (remember Beyonce as Etta James?)

"You Can Never Tell" (1964)

This track, which hit No. 14 on the Hot 100, also became a hit for Emmylou Harris... and Quentin Tarantino, who featured it in Pulp Fiction.

"My Ding-A-Ling" (1972)

This novelty track (yes, it's about what you think it's about) spent two weeks atop the Hot 100... what can we say, the '70s must have been a weird time.

The Walking Dead - My Demo Soundtrack - Video

The Walking Dead - My Demo Soundtrack - Video

Hi everyone! Here is the new demo! On this time I took the opportunity that the new season of " The Walking Dead" will come on this month, so, I decided to make a new soundtrack.

In Fact last year I did the same thing you can check on my Youtube channel as following in the end of this article.

This time I decide to use more synth bass, some leads and drum loops. Why? Because I would like to do some experiments only using bass synth.

Ok! let's see how was my planing. I usually put on paper all ideas and possible sound that I can use. First of all I Edit the original teaser and put for just 1'20sec, to me is better to go straight to the point.

After that I wrote all ideas and possible sounds and effects. After watch the video a couple of times I decide to make three different variation on the same theme. As you can see on picture below:

Than I began to use the all sounds that was previously selected and at same time checking with clip checking three parameters:

1 - If the bass synth match with drum loop
2 - If the synth leads match with Bass and drums
3 - And finally if the match with emotion or action on the clip.

I'm not saying that was stunning but I like very much to make this experiments and this gave me other ideas that I will start to work on next couple weeks.

Well, that is it! Any comments (Good or Bad) will welcome my principle is "continuous improvement".

See you.

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.