Power Field Studio

Power Field Studio

terça-feira, 18 de abril de 2017

Veja O Novo Baixista Do Korn 12 Anos De Idade! Adivinhe De Quem É Filho!

Watch Korn Debut Their New 12-Year-Old Bassist


Jonathan Davis and Tye Trujillo of Korn perform in Bogota on April 17, 2017.

Last week, we found out that Tye Trujillo, the 12-year old son of Metallica’s Robert Trujillo, would be filling in for Korn’s bassist during the band’s tour dates in South America, and on Monday night (Apr. 17) he made his big debut at Gran Carpa de las Américas in Bogota, Colombia. And now we know that a 12-year-old can play Korn songs!
Trujillo is filling in for longtime Korn bassist Reginald "Fieldy" Arvizu, who was unable to join the band on this leg of their tour in support of Serenity of Suffering due to unexplained "unforseen circumstances." 
Watch some video of him via Blabbermouth below:

Spotify Melhora E Apresenta O 'Spotify for Artists'

Spotify Upgrades Fan Insights Feature to 'Spotify for Artists': Exclusive


When Spotify first introduced its Fan Insights initiative in beta in November 2015, it was, says vp of product Charlie Hellman, a dashboard of data intended as "a self-serve way [for] artists and their teams to really understand what was going on with their audiences on Spotify." Now, a year and a half later, the streaming service is upgrading Fan Insights and rebranding the initiative as Spotify for Artists, complete with new features and controls that allow all artists to not only peek under the hood at their data through the service, but also manage their artist presence within Spotify itself.
As with Fan Insights, artists will have access to listeners' demographic information -- age, gender, location -- as well as real-time song information, playlist performance and data and the different ways listeners are accessing or discovering their music. With Spotify for Artists, verified musicians will be able to now manage the way their artist page looks, with photos; pinned songs, albums or playlists that they want to promote atop their profile; and the ability to add and control which playlists appear on their artist page, whether created by themselves or by fans or other artists.
"What we're seeing is that artists of all sizes need the help," says Troy Carter, global head of creator services at Spotify. "Someone who is one of the top 50 artists in the world, they're still trying to figure out a lot of things about their fans as it relates to specific demographics, how to reach them, how to sell more tickets, how to appeal to audiences that you may not necessarily appeal to on typical radio. But what we're seeing as you go down the stream, artists who more typically self-serve, they also need more tools. We feel like Spotify for Artists is providing them."
   Courtesy of Spotify
Spotify for Artists, more than a complete overhaul of the current iteration of Fan Insights, is the result of the past year-plus of feedback and updates to the existing system as artists and managers take the raw data and apply it to their careers. In announcing the new initiative today, Spotify pointed to British singer-songwriter Lucy Rose, whose demographic listener data led her to route a tour throughout Latin America; Canadian singer Joshua Hyslop, who used that same data to tour the Netherlands; New York City-based singer Max, who took location and listening data and used it to pitch his song "Lights Down Low" to national radio; and electronic musician Zhu, who rode the spikes of streams from a collaboration with Skrillex to 100 million listens while he averaged 4 million streams per month.
Hellman points to another use case: branding, which has grown into a significant income stream for artists of all sizes. "A lot of what artists and managers use Spotify Fan Insights for is pitching themselves to other career opportunities, whether that's a brand, whether that's trying to get a better deal on the promotion side for the tour," Hellman explains. "For them to be able to pull all-time stats to show how many people have been listening to this single, or how many people within this city, that just helps them create that sheet to walk into that meeting and pitch themselves with more force."
The Spotify for Artists dashboard also mirrors other data-driven tools, like Kobalt-owned AWAL's new app that pulls in data from both Spotify and Apple Music, and Pandora's Artist Marketing Platform, which gibves artists the ability to reach out to and connect with fans using the platform.
For Carter, who previously managed artists such as Lady Gaga and Meghan Trainor and thus has seen both sides of this coin, the access to data -- particularly in real time -- is a game changer of sorts for managers. "I think what we're seeing now is how big the music ecosystem is," he says. "When you look at, whether it's record labels or radio stations, you only can handle a certain amount of releases and deal with a certain amount of artists, so the majority of artists around the world are kind of left behind from the mainstream system. I think these tools help them navigate that a little bit better."
  Courtesy of Spotify
Both Hellman and Carter see Spotify for Artists as one piece of a larger puzzle that includes their efforts to help artists -- whether through algorithmic and/or human-curated playlists, marketing initiatives led by Carter's team, Fan First campaigns or other projects, and say that they'll be rolling out more features throughout the spring and summer. But for all Spotify can do -- particularly for an indie artist -- Carter stresses one particular point.
"There's a lot of speculation that we're going into the label business, and I think we couldn't be further from it," he says. "Our thing is, how do we support our partners on every end and allow them to use Spotify as a distribution platform, a place where they can reach more fans, and just be the most value-added partner that they're gonna find."

segunda-feira, 17 de abril de 2017

10 Músicas Horríveis Feitas Por Grandes Bandas

10 Awful Songs by 10 Amazing Bands

These 10 bands are some of the greatest in music history, but even they’ve written a dud here and there. It’s our Loud List of 10 Awful Songs by 10 Amazing Bands.
Any act worth a damn is going to experiment. Even the Beatles experimented quite a bit, and had a few misses in their otherwise stellar discography No matter how phenomenal the talent, a song can become a masterpiece or a clunker.
The world was abuzz in 2003 when Metallica announced St. Anger, the iconic thrash band’s first album in six years. Unfortunately, it wasn’t exactly what longtime fan were expecting. There was a massive lack of guitar solos, poor production standards and a snare sound that’s now become legendary for all the wrong reasons. Despite solid record sales, the test of time hasn’t been kind to St. Anger or its title track.


Led Zeppelin and Deep Purple probably embody the spirit of diverse hard rock more than any other act, but they’ve taken some left turns in the past. To many, the antithesis of rock is country music. Both Zeppelin and Purple have taken dives in that direction with “Hot Dog” and “Anyone’s Daughter,” respectively, which caused many fans to turn up their noses.

7 Maneiras Onde Todos Os Músicos Podem Tocar Como Profissionais

7 Ways All Musicians Can Play Every Show Like a Professional

First of all thanks to Daniel Reifsnyder for this article.


Most musicians are focused only on the music  and rightfully so. If you don't play a great show, you're not going to win over fans or be asked back to the venue. But more than being a great band, you want to be taken seriously. Here are seven ways you can step up your game and be a more professional musician.

1. Make a detailed rider agreement

Most serious bands have some form of rider agreement. Now, you may be remembering rumors of bands demanding a bowl of only blue M&Ms, but your rider doesn't need to be that detailed or include such superfluous items. Instead, draft something simple that covers the basics:
  • your agreed-upon rate and method of payment (depost up front, door cut, etc.)
  • when and where you're playing
  • how long your set is
  • what the venue will provide (backline, sound engineer, load-in location, etc.)
Fire off those contracts at least two or three weeks before the show so both you and the venue know what's expected. As long as you're not ridiculous about what's in your rider, it can make the venue step up its game and even respect you as a professional.

2. Give yourself extra transit time

There's always something that pops up last minute before a gig: a band member is late, there's an accident or construction on the highway, or you get lost on the way. Figure out how long it's going to take you before setting out, and factor in an extra buffer of time. I recommend at least 30 minutes. That way, if something unexpected happens, you're still on time.
There's nothing more irritating to a venue than having an artist who's late for soundcheck, or worse, the show itself. Showing up on time (or even a little early) is an easy way to put yourself in their good graces.

3. Display your merch at every show, no matter how small

Unless you're a brand-new artist playing his or her first gig, you should have some sort of merch available at your shows. I know many artists who simply keep their stuff in their cars and never unload it. This is a big mistake. It shows that you don't expect to sell anything (which isn't a very pro mindset) or that the show isn't important enough for you to bother (also not a very pro mindset and, honestly, a little insulting to the venue). Whether you're playing an arena or a coffeehouse, set up a table for your wares, preferably staffed if you can make it work.

4. Hang a clear, eye-catching banner (or two)

It should be a no-brainer, but having a large, full-color sign at your merch table serves a few purposes: it tells people who you are, adds legitimacy to your band, and attracts potential customers.
Your sign or banner should be easily readable and prominently display your band name along with your website. You may even want to make two: one for your merch booth, and one to hang behind you onstage. Some may find this cheesy, but the repetition of your sign is vital to keep your band top of mind for your audience.

5. Figure out a way for people to contact you

Fans not only want to know who you are but also know how to get in touch with you. This is where your email list comes in handy. 
It's a good idea to have business cards nearby, too. You never know when someone will approach you about booking a show. Don't have business cards? It's about time to print some up. It's the professional thing to do.

6. Assemble a comprehensive press kit

At the very least, you should have a two- or three-song demo, but to really come off like a pro, you need a full-blown press kit. They're pretty straightforward to make. For the bare basics, you need:
  • live footage (ideally with a big crowd)
  • press clippings or reviews if you have them
  • a short bio
  • a band picture
  • a few decently recorded songs
A professional-looking press kit can set you apart from other bands and even get you shows you might not be booked for otherwise.

7. Create a master checklist for every gig

checklist is vital to any gig, especially if you're somewhat disorganized. Did you remember your fog machine? Your T-shirt cannon? Cables? Instruments? Loading up can be chaotic, especially if you're under pressure or running late.Double check everything. Triple check. Then check again. You don't want to show up to the gig minus equipment, signs, or some other important item.

If you make these seven items a priority, you'll be on your way to impressing any venue you play. Don't forget to be courteous and friendly as well. A winning combination of courtesy, professionalism, and talent will go a long way.

quinta-feira, 13 de abril de 2017

Orit Dolev Criou O NOMAD - Instrumento Digital Para Viajantes - Vídeo

Orit Dolev creates NOMAD, a digital music instrument for travellers


award-winning designer orit dolev reveals NOMAD, a digital instrument that creates music on the­ go. from trekking through asia and south america to living in a hacker home in the bay area with fifteen other people, dolev knows the pain of dragging a guitar around. based on that, she started questioning how one can improve the global music culture through design. 

‘on one of my trips, I decided to bring a guitar and finally learn how to play it’, she explains. ‘I thought to myself: this would be a great way to meet new people by bridging gaps of culture and language through music. but the experience of traveling with this musical instrument turned out to be frustrating. the shape of the resonance box prevented me from putting it in my backpack and the strings would constantly break and get out of tune’. 

designed to encourage mobility and adventure, the minimalistic form makes NOMAD portable and durable


orit dolev has developed NOMAD as an instrument that can be thrown in a backpack and used practically anywhere and anytime. the wooden neck creates a familiar feel, while the minimalistic form enables artists to take their musical instrument anywhere they go. the pressure sensitive frets and flexible rubber strings preserve a traditional playing experience. however, thanks to their soft tactile material, they will never break or get out of tune. it is a combination of both digital and analog features – maintaining the familiarity of a classic guitar, yet adding the possibilities hidden within a digital musical instrument. 

pressure sensitive frets and flexible strings that never break or get out of tune


paired with an app, NOMAD can play an endless variety of sounds and frets can be turned off for ‘fretless mode’ while a digital capo controls the pitch of the strings. users can play music through headphones or connect wirelessly to the portable amplifier to share tracks with other people. designed as a pair, the amplifier doubles as a case cover which protects and complements the instrument. the final product reveals distinct qualities of internal and external, low-­tech and hi­-tech, traditional and modern.

NOMAD is born from the desire to create music on-the-go 


designed as a pair: the amplifier and NOMAD instrument

a musical instrument for the modern nomad

the instrument is designed to age gracefully and overtime, becomes personalized 

‘create music wherever life takes you’

Designed to live

NOMAD combines low-­tech and hi­-tech, traditional and modern features

initial prototypes of the NOMAD instrument


designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

Jack White’s New Third Man - Lançamentos

Jack White’s New Third Man Book Features Beck, Courtney Barnett, Colbert, More


The Record Story Day Blue Series book chronicles the label’s series, and comes with a vinyl with unreleased music


Jack White’s Third Man Records has announced its 2017 Record Store Day releases. On April 22, the label will put a new book, The Blue Series: The Story Behind the Color. Written by Ben Blackwell, it explores the history of White’s “Blue Series,” which includes releases from Insane Clown Posse, Beck, Stephen Colbert, Courtney Barnett, Dwight Yoakam, Alabama Shakes’ Brittany Howard, Tom Jones, and more. The RSD limited edition also includes a 7” vinyl with unreleased Blue Series tracks by First Aid Kit and Butthole Surfers’ Gibby Haynes.
In addition to the book, Third Man is reissuing Bob Seger System’s song “2+2=?” on a 7” yellow-colored vinyl; “Ivory” is on the b-side. There is also a new release from Lillie Mae, new merch, and the previously announced gold-colored vinyl 7” of White’s new single “Battle Cry.” Find more information here, and find previews of the book and records below.

quarta-feira, 12 de abril de 2017

Os Sons E A Música De "Resident Evil 7: Biohazard"

The Sound and Music of Resident Evil 7: Biohazard


In this exclusive video game profile we chat with the sound and music team behind Capcom's Resident Evil 7 biohazard including Audio Director Wataru Hachisako, Lead Music Composer Akiyuki Morimoto, Original Kontakt Designer, Music Production Supervisor Koyo Sonae, Music Composer Cris Velasco and Music Composer Brian D’Oliveira.


Synopsis

When Ethan Winters opened his inbox, the last thing he expected was to find an email from his wife; she had been missing for three years. The message was simple: "Come get me," and an address in Louisiana. This leads Ethan to a decrepit mansion in the heart of the bayou. The place has a seriously creepy vibe, but Ethan continues his search – until a stranger attacks him and knocks him unconscious. Ethan has no idea what awaits him when he wakes up...for he is now in the clutches of the Baker family.

Sound Credits

Eliot ConnorsSOUND DESIGNER
Daniel P. FrancisSUPERVISING DIALOGUE EDITOR: FORMOSA INTERACTIVE LLC
Jesse GarciaSOUND DESIGN ASSETS MANAGER
Nicholas InterlandiSOUND DESIGNER
Garrett MontgomeryADR MIXER : DIALOGUE EDITOR : DIALOGUE QUALITY CONTROL : DIALOGUE RECORDING
Soya SooASSISTANT MIXER
Alvin WeeMIXER