Power Field Studio

Power Field Studio

sexta-feira, 3 de março de 2017

Como O Blockchain Pode Ajudar Os Músicos A Se Conectarem Com Os Fãs E Ainda Serem Pagos

How the Blockchain Lets Musicians Connect with Fans (and Get Paid)

First of all thanks to Rebecca Campbell for this article.


As businesses go, the music industry has witnessed significant changes over the years. First there were vinyl records, then there were cassette tapes. This was followed by CDs, and with the rise of Napster in the 1990s, we saw the advent of digital downloads. Now, of course, most of us stream the music we listen to.
Despite this, though, the music industry is going through turmoil. According to a report from Forbes, the music industry has experienced a steady decline in profits. Yet, while it was reported that one trillion songs had been streamedin 2015, the people streaming aren’t paying huge amounts of money for the songs. English singer-songwriter James Blunt famously tweeted that thanks to Spotify, he gets paid only £0.0004499368 ($0.0005517475) per stream.
Two projects in the digital currency and blockchain space, Tatiana Coin and Musicoin, are creating ways for artists and audiences to connect with and support each other.
Tatiana Coin
Tatiana Moroz, singer-songwriter and a pioneer in the Bitcoin community, told Bitcoin Magazine that musicians earn, on average, less than a penny per stream in today’s music landscape.
In 2014, Moroz introduced Tatiana Coin (TATIANACOIN), a new way for musicians and fans to have a closer relationship while allowing the artist to earn a living at the same time. As the first-ever musical-artist coin built on top of Bitcoin (via Counterparty), it’s supported by Tokenly’s upcoming media ownership platform, token.fm, due to launch in Q2 of ’17.
Owners of Tatiana Coin will have the opportunity to stream Moroz’s music, as well as lend, collect, sell or trade tokens. They will also have the chance to chat directly with Moroz, access unique multimedia content, buy personalized fan gear and have VIP experiences during her upcoming world tour, recording studio sessions and private concerts.
In February, Moroz launched the full band version of her single “Bitcoin Jingle.” She will be releasing her first studio album in five years on March 31 called Keep The Faith. As a friend and supporter of Ross Ulbricbht, the album cover was originally drawn by him as a birthday present for Moroz.
Exclusive: Get a first listen to "Safe With You," releasing March 3, 2017.
“After experiencing firsthand the troubles artists face trying to make a name for themselves, I sought a revolutionary way for artists and fans to help each other through incentivized financial support and social connectivity,” she said. “The only way to achieve this is through the power of the blockchain: a technology that presents countless opportunities for artists and musicians.”
For Moroz, Bitcoin was something that could help equalize the playing field, solving the problems of income, media distribution and fan relations within the music industry.
“Imagine artists being able to organically grow and directly reach their fan base without the influence of third-party vendors that may not have the artists’ best interests in mind,” she said.
Moroz is keen, though, to use her music to reach as many non-Bitcoiners and get them interested in digital currency. Moroz said that through a mix of song performances and storytelling with her talks, she illustrates the benefits of digital currencies to make it more engaging for her audience.
“I want to enlighten artists and musicians on a transformative technology that allows for true artistic freedom and creates a fair, transparent economy,” she said. “At the same time, I want to create greater access to and rewards for fans who believe in the work of artists.”
Since the launch of Tatiana Coin, artists have been very receptive of the technology, said Moroz. In her opinion, musicians have been the “slave class in the industry,” so the time has come for disruption.  In her home base of New York, Moroz wants to spearhead a grassroots effort to engage artists. However, she believes this technology can help streamline and power all aspects of the industry to benefit everyone. 
“I am excited to see this platform begin to connect communities directly with creatives, and keep the middleman services as optional and transparent,” she adds.
Musicoin
Musicoin, which was created by Brian Byrne, Isaac Mao and Dan Phifer, is a decentralized system for the publication and consumption of music, combining a cutting-edge digital currency with a peer-to-peer file sharing network, which aims to bring a level of transparency and fairness to the music industry. It does this by allowing musicians to license their content via a “coded contract” directly to the blockchain. With the contract, they automate the collection and distribution of royalty payments, which remain in the control of the artists themselves. 
Each time an artist’s track is played, the “pay per play” contract is executed by the system, resulting in a payment using the Musicoin currency. This is sent directly from the listener to the musician, who has granted the listener access to a specific piece of work.
Speaking to Bitcoin Magazine, Byrne said Musicoin is solving the problem that musicians face by keeping artists connected to their music.
“They know that by using Musicoin, without fail or question, that when someone hits play on our platform that payment goes directly to them,” he said. “A real transaction that is transparent with no intermediary.”
As someone who has been a recording and touring artist, Byrne said that he understands what it’s like to try and navigate contracts with record labels and managers while watching the misuse of funds and the failed answers to royalty payments.
“When I was first introduced to this idea by Isaac and Dan, I knew without a doubt that this was something I would fight for, to see it come to fruition and let every artist know about it,” he said.
According to Musicoin, over 80 percent of royalty fees are kept by intermediaries, which, prior to the digital age, helped musicians to organize, plan, record, produce and distribute their music. Since then, that role has expanded and it is for that reason musicians can’t make a living.
However, through Musicoin’s theory of the Sharism Model, each playback represents an exchange between the musician and the listener.
As a project that is self-funded with no ICO, no pre-allocation to the founders and no pre-mining, Byrne states that their aim is about leveling the playing field, putting the artist first and figuring out the problem.
Byrne says that even though there will be those who don’t think the platform will work, the feedback so far has been positive.
“Everyone seems to be really thrilled with the idea, how it works, the support in the community and the potential it has,” he said.

Spotify Alcança 50 Milhões De Assinantes!

Spotify says it has 50 million paying subscribers, extending its lead over Apple Music


Spotify said on Thursday it has reached 50 million paid subscribers, growing 25 percent in less than six months and extending the Swedish music streaming service's lead over its closest rival, Apple Music.
Spotify, which has not yet shown a profit as it spends to grow internationally, is considering a potential U.S. stock market listing, according to a February TechCrunch report.
The Stockholm based company announced a major expansion in New York in February.
Spotify, one of Europe's most highly valued venture-backed startups, will move its New York office to the World Trade Center from the Midtown area of Manhattan, adding more than 1,000 new jobs.
Launched in 2008, Spotify had 40 million paid subscribers in September.
Apple, which launched its music service less than two years ago, had about 20 million subscribers in December.
In 2016, Americans used on demand streaming platforms, such as Spotify, to listen to 431 billion songs, Nielsen said in its U.S. year-end report.

quinta-feira, 2 de março de 2017

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)

terça-feira, 28 de fevereiro de 2017

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. 

segunda-feira, 27 de fevereiro de 2017

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.