Michael Jackson “Beat It” Só Instrumental (Video)

Michael Jackson “Beat It” Instrumental Track

It’s time to listen inside another big hit from the past. This time it’s the instrumental version of Michael Jackson’s “Beat It.” It’s actually pretty amazing what you can hear once you strip the vocal off, although it shouldn’t be too surprising since it is the center of attention. Here’s what to listen for:

1. The reverb tail on the main guitar riff is very long. This makes perfect sense since it has to hang over at the end of the riff.

2. There’s not that many elements to the song. It’s actually pretty simple in that there’s usually only 3 elements playing at the same time – rhythm section, a keyboard pad, and a guitar riff.

3. There are some extra guitar parts that aren’t that apparent in the final mix. Listen to the clean guitar on the second half of the verse and the second 8 bars of the chorus. Also in the bridge there’s a 16th note guitar that plays underneath the main figure.

4. The drums are pretty plain in they just keep the beat. It sounds like a drum machine with real drums overdubbed with the high hat doubled and panned to each side, which fills up both the frequency and the aural space.

It’s always fun to listen inside of a hit, and sometimes just taking away the vocal reveals many parts that you don’t hear in the mix but are essential to the song. That’s the cool thing about production. The most important parts of the house aren’t usually the ones seen from the outside.

Como A Indústria Da Música Pode Ser Salva?

How the music industry can still be saved

The music industry is in transition.

Between piracy and digital distribution, there has been huge destruction of value among legacy players and a lot of handwringing over the fate of music. But that doesn't mean there's no hope.

One major player at the world's second-biggest search engine (behind parent company Google, of course) is downright optimistic about the future of music.

Neal Mohan, the chief product officer at YouTube, has insight into how the rise of digital media might rescue the music industry.

Mohan will talk about these ideas at Business Insider's flagship conference, IGNITION: Future of Digital.

He'll have a lot to say, given YouTube's recently announced plans to revamp its site. The idea is to create a greater "community feel," where creators can share everything from videos and posts to polls and even live broadcasts with their followers. The focus will remain on videos, but YouTube is looking to break out of its single-task-platform mold.

So what does that mean for the music industry? Mohan thinks digital ads are the key to unlocking more revenue. Today, YouTube alone generates $3 billion in ad revenue. It's a figure that will only increase as digital consumption continues to grow — as young people switch off the radio and tune in online to hear the latest songs.

Learn more about what the future holds for YouTube and the world of music at IGNITION.The conference is December  at the Time Warner Center in New York City.

This year's IGNITION speakers include SpringHill Entertainment's Maverick Carter, Vimeo's interim CEO Joey Levin, EA's Peter Moore, and Vevo's Erik Huggers.

O Som De Star Wars Battlefront

The Sound of Star Wars Battlefront

This week we are celebrating the 1-year anniversary of Star Wars Battlefront by talking with the sound team including Audio Director Ben Minto, Sound Designer David Jegutidse and Sound Designer Martin Wohrer.

Check out the fourth and final digital expansion pack which gives you access to new content inspired by the upcoming film Rogue One™: A Star Wars™ Story.

Also arriving on December 6 is the Star Wars™ Battlefront™ Rogue One: X-Wing VR Mission for PlayStation VR. This free DLC gives you control of your very own X-wing in fully immersive virtual reality – brush up on your piloting skills, stay on target, and prepare to jump through hyperspace as you carry out an important mission for the Rebellion.

This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. Find out more at www.thx.com

Stevie Ray Vaughan - A Guitarra Isolada De “Pride And Joy”

Stevie Ray Vaughan “Pride And Joy” Isolated Guitar Track

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

There’s nothing like listening to a master and guitarist Stevie Ray Vaughan certainly fits that description. I remember going to see him in a small club before he broke out big, but right in the middle of stream of big hype. The audience was filled with LA guitar players (including quite a few heavyweights), all with a “show me what you got” attitude. It took about a minute and half of the first song, “Pride And Joy,” to make a believer out of all of us. Yes, this guy was the real deal. Here’s the isolated guitar track from the studio recording of that song.

1.  The first thing you’ll notice is how big the guitar sounds. It has much more bottom than most guitar tracks, but this is a function of the fact that he was playing in the trio version of Double Trouble at the time, so more sonic space needed to be filled.

2. While everyone looks at his incredible dexterity when soloing, Steve was actually a great rhythm player as well, as this track bears out. Listen especially to the turnarounds, which are incredibly precise.

3, There’s a long delayed reverb on the guitar that’s very bright, again to fill in the sonic space.

4. No overdubs here. This sounds like one take all the way through, rhythm and lead guitar!

There’s no doubt the man was really a master. He’s very much missed.

Metallica O Número 1 No Billboard 200

Metallica Rocks With Sixth No. 1 Album on Billboard 200 Chart

Metallica scores its sixth No. 1 album on the Billboard 200 chart with the arrival of Hardwired… to Self-Destruct. The set debuts atop the list with 291,000 equivalent album units earned in the week ending Nov. 24, according to Nielsen Music. Of that sum, 282,000 were in traditional album sales. Hardwired was released on Metallica’s own Blackened Records on Nov. 18.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 10-dated chart (where Metallica launches at No. 1) will be posted in full to Billboard’s websites on Tuesday, Nov. 29.

Hardwired’s start is the third-largest debut of 2016 — both in terms of overall units and traditional album sales — behind only the arrivals of Drake’s Views (1.04 million units; 852,000 in sales) and Beyonce’s Lemonade (653,000 units; 485,000 sales).

Further, Hardwired sold more in its first week than any rock album in two-and-a-half years. The last rock album to sell more in a single week was Coldplay’s Ghost Stories, which bowed with 382,000 copies sold on the chart dated June 7, 2014.

Hardwired is Metallica’s first studio album since 2008’s Death Magnetic, which also bowed at No. 1, with 490,000 copies sold in its first week. Metallica’s last six studio albums, stretching back to its self-titled album (usually referred to as The Black Album) in 1991, have debuted at No. 1. Before Death Magnetic, the band topped the chart with St. Anger (in 2003), Reload (1997), Load (1996) and Metallica (1991).

Following Death Magnetic, the group released a collaborative album with Lou Reed (Lulu in 2011, which peaked at No. 36), an EP (Beyond Magnetic in 2012, No. 29) and the soundtrack to the documentary Metallica: Through the Never(2013; No. 9).

Hardwired was led at radio by its title track, which became the band’s eighth No. 1 on the Mainstream Rock Songs airplay chart (Oct. 8). The track also hit No. 9 on the Hot Rock Songs chart.

Hardwired also bows at No. 1 on the Independent Albums chart, as the set is distributed by Alternative Distribution Alliance, the indie distribution arm of Warner Music Group. Metallica had previously released its music through Warner Music’s Elektra Records (beginning in 1984) and then later through Warner Bros. Records. The band renegotiated its contract with Warner Music in 1994, and that contract expired in 2012. As part of that deal, the act walked away from Warner Music with its master recordings — like their mega-selling 1991 self-titled album — which the group has since reissued on Blackened Records.

At No. 2 on the new Billboard 200, Bruno Mars’ 24K Magic debuts with 231,000 units (194,000 in traditional album sales — Mars’ best sales week yet). It’s his third studio album, and all three have debuted in the top three on the chart.

24K Magic follows 2012’s Unorthodox Jukebox, which opened at No. 2 with 192,000 in sales and reached No. 1 the following year. Before that, Mars’ debut full-length set, 2010’s Doo-Wops & Hooligans, bowed and peaked at No. 2 (55,000 in its first week, later seeing its best frame over Christmas of that year: 84,000). The albums have sold 2.51 and 2.54 million copies, respectively, to date.

24K Magic’s title track (and lead single) gave Mars his 13^th top 10 hit on the Billboard Hot 100 chart, and has so far peaked at No. 5.

As Metallica and Mars both bow with more than 200,000 units for their respective albums, it marks the first time two albums have simultaneously launched with at least 200,000 in a year. (We’ve had a number of albums bow with 200,000 or more in 2016 — like Drake’s Views and Beyonce’s Lemonade — but they all arrived in separate weeks.) It last happened on the Dec. 5, 2015-dated chart, when Justin Bieber's Purpose bowed at No. 1 with 645,000 (522,000 in sales) and One Direction's Made in the A.M. debuted at No. 2 with 459,000 (402,000 in sales).

Next up on the new Billboard 200, Miranda Lambert notches the highest charting country album from a female artist in more than a year, as her new The Weight of These Wings debuts at No. 3 with 133,000 units (122,000 in traditional album sales). The last woman to rank higher on the chart with a country album was Carrie Underwood, who saw her Storyteller album spend its first two weeks on the chart at No. 2 (Nov. 14-21, 2015). It was also the last country album by a woman to launch with a bigger unit total and sales start: 177,000 units and 164,000 copies sold.

The Weight of These Wings, a double album, is Lambert’s sixth studio effort. It’s her fifth consecutive top 10-charting album, following Platinum (No. 1 in 2014), Four the Record (No. 3, 2011), Revolution (No. 8, 2009) and Crazy Ex-Girlfriend(No. 6, 2007). Her first album, Kerosene, debuted and peaked at No. 18 in 2005.

The new album’s first single, “Vice,” reached No. 2 on the Hot Country Songs chart back in August, marking Lambert’s 13^th top 10 hit.

As Metallica, Mars and Lambert all launch with more than 100,000 copies sold of their albums, it’s the first time in a year that three titles have each concurrently debuted with 100,000 sold. It last happened on the Dec. 5, 2015-dated chart, when Bieber’s Purpose and One Direction’s Made in the A.M. bowed at Nos. 1 and 2 with 522,000 and 402,000 copies sold, respectively, followed by Logic’s The Incredible True Story, which bowed at No. 3 with 118,000 sold.

Back on the new Billboard 200, Pentatonix’s A Pentatonix Christmas dips 2-4 with 101,000 units (though it’s up 80 percent) and A Tribe Called Quest’s We Got it From Here… Thank You 4 Your Service falls 1-5 in its second week (59,000 units, down 56 percent). The soundtrack to Trolls moves 3-6 with 53,000 units (up 12 percent) while Garth Brooks and Trisha Yearwood’s collaborative holiday album, Christmas Together, rises 11-7 with 39,000 units (up 84 percent). The latter set gives Brooks his 17^th top 10 album, and Yearwood her third (and first since 2005’s No. 4-peaking Jasper County).

Rounding out the top 10 are Rae Sremmurd’s Sremmlife 2 (4-8 with a little more than 38,000 units, down 11 percent), the original Broadway cast recording of Hamilton (6-9 with 38,000 units, up 24 percent) and Drake’s Views (5-10 with 34,000 units, up 8 percent). Hamilton likely rises thanks to publicity generated by the brouhaha over vice president-elect Mike Pence’s visit to the show on Nov. 11.

O Que Os 50 Maiores Festivais Revelam Sobre A Indústria Da Música Ao Vivo

What The Top 50 Global Music Festivals Reveal About Today's Live Music Industry

Festivals are often cash cows for the music industry, and 2016 is proving to be no different.

The Coachella Valley Music and Arts Festival, which took place over two weekends in April 2016 in Indio, CA, generated $704 million in overall spending activity by consumers and businesses, and contributed an estimated $106 million to the local economy. The U.K.’s Glastonbury Festival, which attracted 135,000 attendees this year, has increased physical sales for Adele, Mercury Rev and other indie and celebrity performers by as much as 1,009% to 6,600%.

Coachella and Glastonbury reign atop the inaugural Festival 250, a Stubhub-sponsored report of the top global festivals of 2015 conceived by the B2B music publication Festival Insights, in collaboration with market research firm CGA Strategy. Released in September 2016, the rankings incorporate factors such as duration, ticket revenue, capacity and sponsorship estimates, and paint a compelling picture of both dominant and emerging markets in live music.

Below are the most significant trends among the top 50 festivals on the list—signifying how both geographies and genres are becoming more diverse on the world stage, creating more competition for incumbent players.

The U.K. and the U.S. dominate the top 50, while Africa, Asia and Latin America are nearly nowhere to be found—for now.

21 of the top 50 festivals in 2015 took place in either the U.K. or the U.S., with two in California and two in Florida alone. Europe overall has strong representation as well, with Germany, Belgium, Austria and the Netherlands following the U.K. and U.S. as the top countries.

In contrast, Africa, Asia and Latin America account only for three entries among the top 50. Fuji Rock in Niigata, Japan ranks at No. 3 behind Glastonbury; Rio de Janeiro’s Rock in Rio clocks in at No. 19 in between two U.K. festivals; Magazine in Rabat, Morocco, ranks at No. 25 before Ultra.

Festivals are often cash cows for the music industry, and 2016 is proving to be no different.

The Coachella Valley Music and Arts Festival, which took place over two weekends in April 2016 in Indio, CA, generated $704 million in overall spending activity by consumers and businesses, and contributed an estimated $106 million to the local economy. The U.K.’s Glastonbury Festival, which attracted 135,000 attendees this year, has increased physical sales for Adele, Mercury Rev and other indie and celebrity performers by as much as 1,009% to 6,600%.

Coachella and Glastonbury reign atop the inaugural Festival 250, a Stubhub-sponsored report of the top global festivals of 2015 conceived by the B2B music publication Festival Insights, in collaboration with market research firm CGA Strategy. Released in September 2016, the rankings incorporate factors such as duration, ticket revenue, capacity and sponsorship estimates, and paint a compelling picture of both dominant and emerging markets in live music.

Below are the most significant trends among the top 50 festivals on the list—signifying how both geographies and genres are becoming more diverse on the world stage, creating more competition for incumbent players.

The U.K. and the U.S. dominate the top 50, while Africa, Asia and Latin America are nearly nowhere to be found—for now.

21 of the top 50 festivals in 2015 took place in either the U.K. or the U.S., with two in California and two in Florida alone. Europe overall has strong representation as well, with Germany, Belgium, Austria and the Netherlands following the U.K. and U.S. as the top countries.

In contrast, Africa, Asia and Latin America account only for three entries among the top 50. Fuji Rock in Niigata, Japan ranks at No. 3 behind Glastonbury; Rio de Janeiro’s Rock in Rio clocks in at No. 19 in between two U.K. festivals; Mawazine in Rabat, Morocco, ranks at No. 25 before Ultra.

Asian digital music markets are growing rapidly, creating new opportunities for live music festivals. (Graphic courtesy of McKinsey & Company)

This exclusion may be somewhat misleading, as renowned festival franchises are already expanding their empires into these continents. In Latin America, Electric Daisy Carnival (EDC), Tomorrowland and Creamfields have been organizing offshoot festivals in Argentina, Brazil, Chile, Colombia and Peru. The weekend of November 12, 2016 alone saw the premiere of Electric Zoo: Countdown Shanghai and EDC India, and Ultra Worldwide wrapped up its Ultra Asia tour in September 2016.

Many of Africa’s most popular music festivals, such as Malawi’s Lake of Stars and Swaziland’s Bushfire, highlight local artists and traditions, making them less easily penetrable by American franchises. Even Mawazine, which featured stars from Iggy Azalea to Hardwell this year, dedicates the vast majority of its lineup to African talent.

One of the live industry’s biggest barriers to growth in Africa and Asia is domestic political conflict. Mawazine is organized by the personal secretary to Morocco’s King Mohammed VI, which has led critics to call the government’s financial priorities into question amidst national problems of poverty and unemployment. The Chinese government has blocked YouTube and SoundCloud, two key engines for increasing exposure for artists and listeners who would otherwise be siloed by their location.

Nonetheless, both Africa and Asia are surfacing as exciting markets for the music industry, driven by a surge in digital consumption. Although Asia accounts only for 14% of global digital music revenue, the continent represents 44% of all internet users, according to research by McKinsey & Company. The digital music industry in Southeast Asia in particular grew at more than 20 times the average global pace between 2011 and 2015. According to CISAC’s 2016 Global Collections Report, Africa saw a 13.6% rise in overall music royalty collections and a 33.2% rise in live/background music royalties last year. We can expect a more robust live music infrastructure to emerge in these music economies as more money and data get pumped in through streaming, giving otherwise localised artists access to larger audiences.

DOVER, DE – JUNE 18: Recording artist Anthony Gonzalez of M83 performs onstage at Firefly Music Festival on June 18, 2016 in Dover, Delaware. (Photo by Theo Wargo/Getty Images for Firefly)

Genre diversity doesn’t matter, and the lineups for U.S. festivals aren’t as unique as you may think.

The Festival 250 indicates no significant correlation between ranking and genre diversity, with plenty of rock-only or electronic-only festivals ranking high on the list alongside those with a wider musical spread.

Interestingly, the lowest-paid genres in the music industry overall perform particularly well on the festival circuit. As FORBES reported earlier this year, EDM and hip-hop do not bring in as much cash as rock, pop and country on average, due to their relatively nascent maturity as genres. Yet, 14 of the top 25 festivals in 2015 featured EDM and dance, while 11 of the top 25 featured hip-hop. The strong presence of these two genres on streaming services—hip-hop is the most-streamed genre in the world, and EDM’s fundamentally digital form thrives best on SoundCloud and other online communities—makes them easily marketable to international audiences, translating to prominent visibility on the world stage.

As a variety of artists become more popular on a global scale, it will become more difficult for the top festivals to distinguish themselves solely through their lineups. In fact, many lineups seem to be converging, with artists and groups “festival-hopping” across the world to serve different audiences with largely similar tastes.

To analyse the extent to which festival lineups overlap, I compared the top five U.S. festivals according to the Festival 250—Austin City Limits, Bonnaroo, Coachella, Firefly and Governors Ball—and mapped their 2016 lineups onto a Venn diagram:

DOVER, DE – JUNE 18: Recording artist Anthony Gonzalez of M83 performs onstage at Firefly Music Festival on June 18, 2016 in Dover, Delaware. (Photo by Theo Wargo/Getty Images for Firefly)

Genre diversity doesn’t matter, and the lineups for U.S. festivals aren’t as unique as you may think.

The Festival 250 indicates no significant correlation between ranking and genre diversity, with plenty of rock-only or electronic-only festivals ranking high on the list alongside those with a wider musical spread.

Interestingly, the lowest-paid genres in the music industry overall perform particularly well on the festival circuit. As FORBES reported earlier this year, EDM and hip-hop do not bring in as much cash as rock, pop and country on average, due to their relatively nascent maturity as genres. Yet, 14 of the top 25 festivals in 2015 featured EDM and dance, while 11 of the top 25 featured hip-hop. The strong presence of these two genres on streaming services—hip-hop is the most-streamed genre in the world, and EDM’s fundamentally digital form thrives best on SoundCloud and other online communities—makes them easily marketable to international audiences, translating to prominent visibility on the world stage.

As a variety of artists become more popular on a global scale, it will become more difficult for the top festivals to distinguish themselves solely through their lineups. In fact, many lineups seem to be converging, with artists and groups “festival-hopping” across the world to serve different audiences with largely similar tastes.

To analyze the extent to which festival lineups overlap, I compared the top five U.S. festivals according to the Festival 250—Austin City Limits, Bonnaroo, Coachella, Firefly and Governors Ball—and mapped their 2016 lineups onto a Venn diagram:

Lineup overlaps of the top U.S. music festivals in 2016. (Analysis and graphics by Cherie Hu)

Governors Ball had the highest proportion of overlap acts in 2016, with 51.5% of its acts performing at one or more of the other four festivals. In terms of price paid per artist, Governors Ball was also the most expensive among top U.S. festivals, with a multi-day general admission ticket costing $3.88 per artist, as FORBES reported in April 2016. In contrast, 21.7% of Austin City Limits’ lineup consisted of overlap acts, and a multi-day stub cost only $1.66 per artist, slashing Governors Ball’s price by more than half.

The overlap acts included both emerging and celebrity artists across a wide range of genres. Electropop band M83 was the only group to perform at all five festivals; rapper Vince Staples, folk-rock band Nathaniel Rateliff & The Night Sweats and synthpop outfit CHVRCHES played at four out of the five. In total, 22 artists performed at three out of the five festivals, and an additional 56 artists performed at two of the five (if you’re interested in diving more deeply into the lineups, here’s the raw data).

Moreover, similar artists tend to festival-hop together. For example, electronic artists AlunaGeorge, Gallant and Major Lazer all performed at Austin City Limits, Coachella and Firefly, while indie groups Oh Wonder, St. Lucia and Saint Motel all played at Austin City Limits, Bonnaroo and Firefly.

If these lineups are becoming less distinct, what unique value can festivals bring to the table? The Festival 250 hinted at a possible solution in its writeup about Coachella. By engaging early with digital distribution channels like YouTube, the festival got a leg up early on in “transcend[ing] the insularity of its physical limitations” and reaching wider audiences, wrote the report. In a similar vein, the inaugural Panorama Festival in New York City—which was not included on the Festival 250 list—showcased not only a stacked music lineup, but also a music-technology “playground” with interactive art installations and a 360º virtual reality theater.

As festivals internationalise further and embrace more musical diversity, they will have to adopt a similar mindset—thinking not just about the sounds fans will hear, but also about adjacent experiences around technology and lifestyle, either remotely or on the ground, that will make the entire experience more memorable

Nova Demo Sound Design - Adidas - Animation Video

New Demo Sound Design - Adidas

Hi Everyone!

Well, I received this quote a couple weeks ago, from a company in LA.

They gave me just a few hours to create a sound effect with no drum for this animation. They sent a sample with some sounds as reference with drums.

Well, this is final results as you can see on video below!

Any comments will be welcome. See you! 

P.S. They put the project in standby!! Things like this happen all the times.