Fast And Furious - Soundtrack

‘The Fate of the Furious’ Soundtrack Details

Atlantic Records will release the official soundtrack album for the action sequel The Fate of the Furious. The album features the songs from the movie, including a track by Lil Uzi Vert, Quavo & Travis Scott, which will be available to download tomorrow. Also included are songs by Young Thug, 2 Chainz, Wiz Khalifa & PnB Rock, G-Eazy & Kehlan, Migos, Pitbull & J Balvin, Bassnectar, Jeremih, Ty Dolla $ign, & Sage The Gemini & more. The soundtrack will be released on April 14, 2017. The Fate of the Furious is directed by F. Gary Gray and stars Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Helen Mirren, Nathalie Emmanuel, Elsa Pataky and Scott Eastwood. The movie will be released nationwide on April 14 by Universal Pictures. Visit the official movie website for updates.

Here’s the album track list:

1. Gang Up – Young Thug, 2 Chainz, Wiz Khalifa & PnB Rock
2. Go Off – Lil Uzi Vert, Quavo & Travis Scott
3. Good Life – G-Eazy & Kehlani
4. Horses – PnB Rock, Kodak Black & A Boogie Wit da Hoodie
5. Seize The Block – Migos
6. Murder (Remix) – YoungBoy Never Broke Again (feat. 21 Savage)
7. Speakerbox (F8 Remix) – Bassnectar (feat. Ohana Bam & Lafa Taylor)
8. Candy Paint – Post Malone
9. 911 – Kevin Gates
10. Mamacita – Lil Yachty (feat. Rico Nasty)
11. Don’t Get Much Better – Jeremih, Ty Dolla $ign, & Sage The Gemini
12. Hey Ma (Spanish Version) – Pitbull & J Balvin (feat. Camila Cabello)
13. La Habana – Pinto “Wahin” & DJ Ricky Luna (feat. El Taiger)
14. Hey Ma – J Balvin & Pitbull (feat. Camila Cabello)

Technicolor Lança Virtual E Realidade Aumentada Focado Em Sound Lab

Technicolor Launches Virtual and Augmented Reality-Focused Sound Lab

Courtesy of Technicolor

Scott Gershin at the Sound Lab at Technicolor.

Supervising sound editor and designer Scott Gershin is leading the initiative.Technicolor's new immersive audio unit, dubbed The Sound Lab at Technicolor, is up and running at its Burbank headquarters. It will also use space at the company's Technicolor at Paramount sound facility and work closely with its Technicolor Experience Center.

The Sound Lab was conceived to explore creative approaches and new technical workflows for developing immersive content, including virtual, augmented and mixed reality; video games; and experiences for theme parks and other special venues.The facility is led by veteran supervising sound editor and designer Scott Gershin, Technicolor's director of sound editorial, whose work spans features (American Beauty, Pacific Rim), TV and games. 

"VR, AR and MR are touching many areas of entertainment, from mobile to special venue," he said, adding that content developers are still learning "how to capture their audience and identify the audiences of the future.

"The Sound Lab team also includes supervising sound designers Adam Boyd, Masanobu (Tomi) Tomita, and Bryan Celano; senior technical sound designers Viktor Phoenix and Chris Hegstrom; sound designer Nick Interlandi; composer and sound designer Johannes Hammers; audio specialist/music production and licensing, executive producer Debbie Gonzalez; and  associate sound designer asset manager Jesse Garcia.The new Burbank space includes 9.1 and four Dolby Atmos rooms, supporting all commonly used playback formats as well as providing headsets for VR/AR; eight 7.1 rooms; and The Loft, a private room for testing Immersive technology. 

Foley services are offered at the Paramount location. As part of the Technicolor Production Network, the units can connect in real time with clients at Technicolor company locations worldwide, including New York, Shanghai, Tokyo and London. The Sound Lab also has launched a voiceover casting and recording service for immersive entertainment.

While the Burbank facility was being set up, the company handled sound for a few projects via the Technicolor Experience Center. That included VR/AR piece Wonder Buffalo (a collaboration with the Entertainment Technology Center at USC); Tree, an official New Frontiers selection at Sundance; and My Brother's Keeper, a VR reenactment of the Civil War.

10 Dicas Para Melhorar Suas Letras De Música

10 Tips for Better Lyric Writing 


First of all thanks to Robin Yukio for this article.


There are as many lyric-writing styles as there are genres. From conversational and literal to poetic, abstract, and even nonsensical. Whatever style you embody, you can always improve your craft. Here are some tips on how to do that.

1. Have a theme. Themes don’t make your lyrics boring, they make them cohesive. Think of Somewhere Over the Rainbow and its whimsical sky references (clouds, birds, stars, chimney tops). It’s about world-building that sweeps the listener away.
2. Try to stay away from perfect rhymes. Day and way. Run, fun, sun. They sometimes ring as childish, especially if the context is not interesting enough. Be more adventurous and less strict (fade and wait, mine and kind, crazy and maybe, etc.).
3. Make the context interesting. If you are singing the same old love song, say it in a different way. Build from real memories, real conversation, or unusual metaphors.
4. Put the rhymes in unusual places (internal rhymes, in the middle of phrases). It adds meat to the bones of your song.
5. Change up the rhyme scheme. An example from Pat Pattison, “Mary had a little lamb, fleece was white as snow. And everywhere that Mary went, she sold the fleece to pay the rent.”
6. Put the emphasis on the right syllable. As much as I love Alanis Morissette, she has an annoying habit of misplacing accents, making it incredibly awkward and difficult to understand (“an un-for-TU-nate slight,” instead of “un-FOR-tu-nate” in Uninvited). If you are dead-set on a lyric that stresses the wrong syllable, don’t be afraid to change the rhythm to set it right. You can also add or take away unimportant words like “that” or separating contractions. Personally, I know a lyric is right when it sounds as if I could speak it naturally.
7. Make your choruses more general than your verses. This is not a hard rule, but it helps to “change scenes” after your verse.
8. Be ruthless about clichés. Speak your lyrics aloud to spot them. When you find them (and you probably will), try changing only one word to something unexpected.
9. Keep writing different versions of the same section. You can always go back to the original, but you never know what you’ll come up with on try #5.
10. Don’t be afraid of the tools in your arsenal. Get a thesaurus. And a rhyming dictionary.  Even if you don’t use the words you find, they can sometimes inspire other ideas. So can novels, newspapers, facebook updates, and people-watching.

You may have sensed a theme by now. Always ask yourself if you can do better. You usually can. But eventually, like a new car, you have to take it for a drive and see if it gets you there. Play it live, get honest opinions from your peers and mentors, and revise. You can play it for friends and family, but don’t expect much more than general praise. Ultimately it’s up to you, as writer Neil Gaiman would say, to make good art. And know when it’s done. 

Como Enviar Uma Demo Perfeita!

How To Send The Perfect Demo

To be heard, you have to stand out in a professional manner.

For any record label A&R, listening to demos starts out as the most exciting part of the job. Just think, you are being handed new music without having to dig for it, and their fate is in your hands!

But after a few years, this excitement turns into a massive drag and becomes just the opposite: quite possibly the most troublesome thing you have to deal with. With success of any label the amount of demos grow exponentially, while the quality of submissions also drop exponentially. It’s the equivalent of walking out to your mailbox each day, and finding an ever-growing amount of letters sloppily addressed to you but having absolutely nothing to do with your life! You’d probably start strong, carefully attending to every letter- but after a while you’d probably just stop reading (unless something was presented in a way that seemed worth your time).

Let’s start with what you aren’t supposed to do.(and yes all of these things happen on a regular basis)

DO NOT openly send your submission to too many labels at once

This just comes off as spam, and usually gets an instant deletion. Many aspiring producers will pass around demo address-lists and start sending music to labels who don’t even release that sound. It suggests that the aspiring producer is simply “throwing shit against the wall to see what sticks“. If that wasn’t a good enough reason, failing to BCC will result in unwanted “reply-alls” leading to annoyed recipients receiving even more spam!

DO NOT send 3rd party download links such as Sendspace or Mediafire (or zip files)

Such a process doubles or triples the amount of time it can take to review a demo. We have to wade through cheap advertising and pop-ups just to download the file (which might also be throttled to be slow), wait for it to download, and then go to the download location and finally listen to it just to decide if the demo is good. Would you want to do all that?

DO NOT attach MP3s

Their web server may have specific restrictions such as maximum attachment size. This might prevent your demo from ever being received, in addition to the same reasons I listed in “no 3rd party links”.

DO NOT send in bootlegs or remixes

Why?

DO NOT send a long-winded bio or unnecessary details

The truth is that none of the info is relevant if the music is not up to par. I receive numerous submissions that include a long heart-felt and thought-out message, to which I immediately skip over, going straight to the streaming link (hopefully there is one). Let us get interested in your music first and we will ask what we need to know.

DO NOT insert lines such as “This is my first track” or “I’m a 14 year old producer”

An A&R is looking for the cream of the crop from even the experienced producers, and even then we want to seek out their best work. An artist’s best work will very rarely (if ever) come from his first year(s) of production. I understand the need to show people your new music, but that’s what friends and family are for (extra bonus if they give you honest opinions). If you are a teenage-phenom-producer, the people around you will let you know.

DO NOT link to a generic place where “all your music can be heard”

An example of this is: soundcloud.com/artist. In the moment, any A&R person will be too overwhelmed with your method of delivery to to hone in on a single song (or two), thus you will simply be skipped over. It also comes across as lazy.

DO NOT add the label manager on social media, and start sending him private messages with your demo (unless you know them personally)

We will remember your name (and not in the way you have intended).
To sum things up… DO NOT ACT DESPERATE

Desperation can be a terribly destructive feeling. It can take away all perspective and make you act impulsive in a way that might turn other people off, which is the opposite of your goal. If you are submitting music to a label that you respect for making cool, calculated moves then you need to embrace the same energy.

Overall, record labels want submissions from aspiring producers who have followed them for years, and understand the style of music they push and the way in which they push it. You must confidently cater your demo in a way that shows you respect and understand this.

Here are the instructions for what I consider to be “THE PERFECT DEMO.”

1. An appropriate title

Such as “Artist Name Demo”

2. Only send to one e mail address

You can CC or add an additional address if it is pertinent to the submission. For example you may have multiple contacts at the same label.

3. A short note

Such as “I am x producer from x country. I have been following the label for x amount of time, and i submit this demo for you“. (extra credit for mentioning the label name in your short, but sweet introduction as it shows the message was meant specifically for the label you are sending it to).

4. A link to one or two streaming songs

Preferably private Soundcloud links, no more than two. If the label likes the songs the first question will usually be “Can i hear more?” followed by “Tell me about yourself?”

*BONUS* Are you friends with an artist already on the label?

If so, kindly ask them to forward your demo. This will be listened to with great attention, and you will already know your demo is up to the necessary standard (if they are a good friend, that is).

Uma Nova Máquina Para Prensagem De Vinil - Video

This New Robot May Change Vinyl Record Pressing Forever

First of all thanks to BOBBY OWSINSKI  for this article.

We’ve been hearing about vinyl record manufacturing coming into the future for some time, and here’s another example. Some Canadian design engineers who usually put their R&D talents into things like MRI machines went to work on the vinyl record press. They made some huge improvements and came up with the Warm Tone vinyl record press.

What’s cool about the Warm Tone press is that so many pain points of the record making process are improved, not just one. Everything from the way the vinyl puck (the piece of plastic before it becomes a record) is warmed and formed to the way the finished record is picked up off the press has been improved. As a result, you now have a high-tech device that’s much more efficient than anything that’s come before.

You always hear that word “efficient” thrown about, but in this case it’s a huge improvement that can end up saving the customer (you, the artist) money.

The typical old-school record press has a 30 to 40% failure rate, meaning that for every 1,000 records pressed, 300 to 400 are bad and must be recycled thanks to everything from operator error or mechanical failure. The Warm Tone is down near 1%!

It’s faster too, spitting out 3 records per minute versus less than 2 from the old system.

All this from a machine that’s iOS operated by a single technician for every 4 presses, as compared to the normal one technician for every press.

The bottom line is that every though each press costs $195,000, it should actually bring the cost of making a record down, and speed up the manufacturing as well. If you’re suffering from a long wait time for your vinyl album to be pressed (as long as 4 months in some cases), then hopefully that wait time can chopped down to something bearable soon.

Jack White Celebra Abertura De Fábrica De Vinil - Third Man

Jack White Celebrates Opening of Third Man Pressing Plant in Detroit

An ebullient Jack White raised a plastic champagne flute on Friday night (Feb. 24) at his Third Man Records store in Detroit, toasting the opening of the Third Man's Pressing plant with a large crowd of invited guests.

"Thank you all for coming to celebrate this," White said as eight shiny Newbilt presses churned out vinyl in the background. "We're all one family. We're all together. This is ours together, and remember this moment, because we're making things beautiful for the next generation."

Spirits were indeed high as White and company officially opened the 10,000-square-foot operation -- privately on Friday and for the public on Saturday -- which is said to be the first recording pressing plant in the U.S. with all-new equipment in 35 years.

Back at the store, there were performances from rapper Danny Brown, Third Man Detroit-based country act the Craig Brown Band, and Detroit singer-songwriter Kelley Stoltz. But the real party was in the large converted municipal parking garage, where guests watched Third Man workers, who wore black jumpsuits and white lab coats, press red vinyl copies of albums by the White Stripes, Stooges, MC5, and techno pioneers Derrick May and Carl Craig, among others.

On the sidewalk outside, meanwhile, a few groups had pitched tents for an all-night stay so they'd be among the first to check out the plant when the store opened on Saturday morning.

"We wanted to be a label that had their own pressing plant," White told Billboard. "It's been a long time since Capitol and Columbia and all those labels had their own pressing plants.

"Wanda Jackson told me a story,” he continued. “She said, 'I couldn't get my records pressed because the Beatles were selling so well they wouldn't let me press my own record at Capitol.’ That was when I first started to say, 'One day Third Man's going to have at least a couple presses.' So now we've got eight. I couldn't ask for anything better than that."

As he squired his mother -- who pressed a Stooges album herself at the plant -- around the party, White added that it means a lot to have the plant operating in his burgeoning home town.

"I went to high school, like, three blocks away," he said. "My mom was an usher at Masonic (Temple). We played at the Gold Dollar. So it's perfect. Out of the darkness comes  the light, and what was considered the roughest neighborhood in Detroit... That's what's so beautiful about this rebirth. It's amazing to be part of it."

Alongside family and friends, Friday's party was also attended by musicians such as Stefanie Eulinberg (from Kid Rock's Twisted Brown Trucker Band); the Detroit Cobras' Mary Ramirez; Danny Kroha; the Oblivians; producer Mike E. Clark (Kid Rock, Insane Clown Posse) and more -- many of whom raged into Saturday's wee hours.

Derrick May beamed as he showed his 12-year-old daughter Soren the operation. "Let's hope that people appreciate it," May said. "Let's hope it inspired a lot of young people. It's right here, right at their fingertips. We're all excited."

White also used the party to bring together record plant operators from around the country -- “a gathering of the families," as one Third Man staffer put it. Many of the attendees who offered counsel as Third Man Pressing was being constructed were invited. They including United Record Pressing, Quality Record Pressing, Record Technology Inc., Rambino Records, Erika Records, Gotta Groove Records, Burlington Record Plant, and Third Man's Detroit neighbor Archer Record Pressing.

"I want us to all be a family and all be on the same team," White explains. "There's no competition. There's a four-month backlog 'cause there's so much demand for vinyl and there's not enough supply. There's not enough machines. Let's all be a family and do this together."

White had Third Man pressing in mind when the Detroit store opened in November 2015. The pressing machines had already been ordered from Germany, while White's brother-in-law Randy Cholewa -- a retired auto industry executive -- researched the business and put into motion a slick, efficient and environmentally-friendly operation, housed in what was once a municipal parking garage.

Third Man Pressing will employ about 20 people and operate one shift to start, during which it has the capacity to crank out about 5,000 records per hour. But it has the capability of going 24 hours, seven days a week if the demand warrants. Third Man store customers will be able to view the proceedings via a window that looks out onto the plant. Tours will be offered. A studio is also being readied that will make recordings of live performances on the stage inside the Third Man store.

While Third Man Records will continue to use Nashville's United Record Pressing for its own product, the company's Ben Blackwell said there are voluminous inquiries from artists and labels both in the U.S. and around the world. Blackwell noted that Blue Note Records president Don Was, another Detroit native, even contacted him pledging his support several months before Third Man even announced the pressing plant.

"My response was, 'How do you even know we're doing a plant? We don't even have presses yet!'" Blackwell said. "We've been slow to promise anything to the dozens of people who are asking and lining up. The goal now is just to get the doors open and then see how it lines up from there."

Nevertheless, Third Man Pressing's future seems as bright as the plant's gleaming yellow floors. "This is not about being nostalgic," White said. "It's about preserving something beautiful for the next generation so they can understand it, too. Tonight and tomorrow, some 12-year-old kid's gonna buy a Stooges record and is gonna get turned on, and that's worth all of this -- every cent, every bit of energy. Everybody here would agree with that, too."

As Músicas Do Batman Lego - video

The Music of The Lego Batman Movie with Composer Lorne Balfe

It should come as no surprise that a movie that explores the loneliness that Batman must feel in the bat-cave after leaving his adoring public behind — even one involving LEGOs — has a fairly dark orchestral score thanks to composer Lorne Balfe, who argues that The LEGO Batman Movie has just as much emotional depth as any live-action Dark Knight tale. Balfe, who was part of the musical department for The Dark Knight series of films, shared some of his thoughts on writing for this animated incarnation of the hero’s story.

Composer Lorne Balfe [TERMINATOR GENISYS, CHURCHILL, THE STORY OF GOD WITH MORGAN FREEMAN] is a Grammy Award-winning, EMMY and BAFTA nominated film composer from Inverness, Scotland. His filmography boasts an incredible breadth and depth of titles, ranging from major studio to independent films, tentpole video game franchises, beloved animated feature films, critically acclaimed television series, and documentary features.