Por Dentro Do Negócio Competitivo De Música Para Trailers

Inside The Competitive Business Of Music For Film Trailers

First of all thanks to Jordan Gassman for this article.

Film trailers are officially more popular than ever. Newly released teasers and trailers have become their own category of entertainment, and sometimes garner more views than the films themselves.

According to The Hollywood Reporter, the trailer for Thor: Ragnarok, which debuted this past Monday, surpassed 136 million views within 24 hours. The record for the most-viewed trailer within 24 hours is changing hands constantly. The most recent recipient of this accolade is New Line’s adaptation of Stephen King’s, It (197 million views), followed by Fate of the Furious (139 million views) and Beauty and the Beast (127.6 million views).

One of the driving forces behind every film trailer and marketing campaign is carefully selected music. Choosing the right soundtrack is one of the most powerful branding tools available, and film studios are capitalising on this.

With enormous viewership potential comes a tremendous amount of pressure. All trailers strive to tell a unique story and to stand out by doing something different. A trailer can make or break a film by heavily influencing audiences worldwide to decide whether it’s worthy of their time and money, so every decision is taken very seriously. The infographic below outlines the process of selecting music for a trailer, as well as the gatekeepers behind the decisions:

SAS & TGA

Infographic by SCORE A SCORE & The Tangent Agency

Within the major studios are creative marketing executives who are in charge of sourcing select trailer houses to work on film campaigns. These trailer houses are always in competition. Customarily there are at least two competing houses on any given campaign, and oftentimes more. Each of these trailer houses typically cut two or three spots depending on their timeline, which ultimately trickle down to the music team.

In the case of WildCard AV (The Mummy, Alien: Covenant and Blade Runner 2049), a Culver City-based trailer house, Music Director Marcy Bulkeley will tackle multiple approaches for the same campaign. She explains, “Once we decide on a musical approach, I will reach out to my contacts and simultaneously search my massive music library to find what I think will work based on our client’s direction.”

These huge campaigns are coupled with massive advertising budgets, which means that the boundaries of music are wide open. Spending up to seven figures on a famous song is not uncommon, and even budgets for original music can peak into six figures. Contrary to popular belief, the composer of a film’s score rarely creates music for the trailer. Custom music typically comes from a trailer music composer, represented by one of the many industry-specific companies that focus on this craft. Bulkeley explains how unique this style of writing needs to be in order to work for marketing, “Trailer composers understand how to maximize a story’s message with music in just two minutes and 30 seconds. The three-part structure of a typical ‘trailer cue’ typically includes a 45-second intro that steps up into a second gear for about 30 seconds, and then takes it away with a climactic backend.”

One of the most popular music approaches lately is a hybrid of a remixed famous song and bespoke original music. Song covers have been very popular over the past few years, and creatives are now harnessing the cache of original master recordings by enhancing them with original overlays and sound design.

Sanaz Lavaedian, Director of Music at the trailer house mOcean(Thor: Ragnorak, Guardians of the Galaxy Vol. 2 and Collateral Beauty) explains, “It’s always exciting to use original versions of well-known songs. When we customize and sweeten them with original music, it preserves the authenticity of the song and making it unique with a new interpretation”

At the end of it all, there are usually two to three theatrical trailers, followed by multiple TV and web spots for a big film campaign. The trailers that make it to a global audience are only a fraction of the content that was created for the campaign, and through the process of attenuation, the multitude of trailers that don’t make the final finish end up on a server somewhere, never to be seen by anyone again.

RADWIMPS Como Eles Escreveram A Trilha De Um Anime De Sucesso 'Your Name'

RADWIMPS On How They Scored The Music For The Anime Blockbuster 'Your Name'

First of all thanks to Ollie Barder   for this article. 

Now that the massively successful anime movie Your Name is showing in U.S. cheaters, I thought it worthwhile talking to the band that scored the movie and understand how they went about the whole process.

If you are not familiar with the name RADWIMPS, they are a very popular band in Japan. Formed back in 2003, they have gone on to great success in the years since.

I recently managed to speak with three of the four band members, that of Yojiro Noda, Akira Kuwahara and Yusuke Takeda. However, the fourth member of the band Satoshi Yamaguchi is currently on hiatus due to illness.

We started on how the band formed and Akira explained, “Yojiro and I formed RADWIMPS during high school. We entered a band contest and met Yusuke and Satoshi there.”

This was followed up by Yusuke, who went into more detail; “Yojiro and Akira formed a 5 piece band of local friends during high school. That band took a break when Yojiro had to study for his college entrance exam. After he got into college and the band re-united, there was a slight member change. That’s when Satoshi and I joined the band.”

The name of the band is also something that’s something of an interesting point and Yusuke was more than happy to explain, “RAD is like “cool” and WIMP is “sissy” or “coward”, so we put these extreme words together.”

It’s here we got to the band’s influences and they have quite a few, with Yojiro starting off with his favorites, “Radiohead, Bjork, Elliot Smith, The Flaming Lips, Hiromi Uehara, John Frusciante, Ringo Sheena and Chara. I tend to be influenced by female singers. I think it’s because it’s something that I cannot be. Also I like neutral, genderless voice and music.”

To which Akira chimed in with, “Red Hot Chili Peppers and Oasis but I like all bands. Personally, I was a fan of Mr. Big. I admired how they played their instruments so fast!”

Credit: Toho, Funimation

RADWIMPS recently scored the music for the very successful anime movie 'Your Name'.

Yojiro then followed on, “In terms of other musical influences, I’ve always liked jazz and hip hop. I think those elements are always in my songwriting.”

To which Yusuke added, “When I first started playing bass, I listened to all music that had bass part that stood out, like Jaco Pastorius and Marcus Miller. Because of that, I was able to adopt styles that many of the Japanese bands/bass players didn’t use at that time.”

It’s here we got onto how the band ended up scoring Your Nameand Akira explained how the contact had been initially made, “Director, Makoto Shinkai, approached Yojiro through Mr. Kawamura, the producer.”

Yusuke then went onto explain further, “Makoto Shinkai was a fan of RADWIMPS so he recommended us as soon as the production of movie Your Name was confirmed. It’s such an honor.”

Naturally, I wanted to know if any of the band had been familiar with Shinkai’s prior animated work, to Yusuke responded, “Yes, I have. I saw the Voices of a Distant Star, Makoto’s debut film, when I was in high school. I’ve been a fan of his ever since and have seen all his films.”

In terms of being fans of anime in general, Yusuke again responded quite enthusiastically, “I’m a fan of lots of anime. Ghost in the Shell, Hayao Miyazaki films, Akira, Gundam, etc. I’ve always been a fan of anime since I was little. I was fascinated by robots, science fiction and stories that were surreal. I’m still a fan even at this age.”

As for how the band approached scoring Your Name, Yojiro explained, “It took almost a year and a half to make the whole entire score. We talked with the director and the producer more times than I can even remember. The songwriting process was moving forward at the same time with the animation so it influenced each other. The music changed the story, the lines, and if the new scene was created, we changed the music. It was a creative process. The 2 main characters were very attractive. So I concentrated on them. How and when their feelings moved. We weren’t able to see the actual animation until it was all finished so we focused on the script and director’s words. And just kept imagining.”

To which Akira clarified further, “So there was no particular inspiration but we followed the images that the director had for the film.”

Something Yusuke confirmed, “Yeah, there was a video storyboard as guidance. “What kind of music would help people to feel the emotion of this scene?” was what I had in mind when making the score.”

Credit: Toho, Funimation

'Your Name' has been one of the most successful anime movies of recent years.

Compared to writing a stand-alone album, it seems that scoring Your Name was quite different for the band, as Yojiro explains, “It was totally different. In making my own album you have to express everything all by yourself, only the music. But for the movie, it’s more comprehensive. The music has its own role in each scene. For some scenes, music doesn’t have to stand out and just be in the background. Letting the animation do the telling. And for some parts, the music leads the whole story.”

For Akira, it seemed that timing was more of an issue, “It was really difficult to arrange music to fit the animation by the second.”

Yusuke then talked a bit more about the process, “Except for the vocal tracks, we divided parts and assigned a member to be responsible to complete that part. So the process was mainly individually and separately done at our homes or studio. We never do that for our original albums.”

One of the more interesting aspects to the U.S. release of the movie is that the songs were also localized into English. It seems that the band had a key role in this, as Yojiro explains, “Writing English lyrics to the original Japanese songs was interesting. The melody was the same so the capacity of the lyrics had already been fixed. Sometimes you have to add the story in so as to fill the melody.”

What with Your Name being such a huge success, I wanted to know if the band might score some more anime in the future. Yojiro responded, “It doesn’t have to be an animation. If there was a cool interesting story, and if I feel that it’s going to be something new and exciting, I’d love to be a part of it.”

In terms of video games, while the band hadn’t thought about scoring any yet, Akira is clearly a gamer, “I’m playing Yakuza. It’s a game about the yakuza, the Japanese mafia.”

As is Yusuke for that matter, “I like lots of games. Final Fantasy, Biohazard, Monster Hunter, etc. They let me into a surreal fantasy world.”

As for the future of the band, Yojiro had this to finish off with, “I’m thinking of writing more English songs. For the past few years, I was focused on writing in Japanese, searching for the possibilities of Japanese language. But now, I’m interested in English songs. How to express these feeling as a Japanese person, in English.”

Spotify Fecha Acordo Com A Merlin Para Licenciar Indie Labels

Following Universal Deal, Spotify Locks Down Indies in Long-Term Licensing Pact With Merlin

Spotify and independent label organization Merlin have agreed to a multi-year licensing agreement that ensures an uninterrupted flow of music from non-majors to the music streaming leader, plus extends to Merlin members the same flexible release option that was core to a recent deal with Universal Music Group.

Merlin represents over 20,000 indie labels, who collectively make up roughly 12 percent of the global digital music market. The deal will give Merlin's members, including Beggars Group, Domino, Epitaph/Anti, Kobalt Music Recordings, Secretly Group, Sub Pop and many others, improved access to data and marketing opportunities going forward.

Unsurprisingly, Spotify's new "flexible release policy" -- coined earlier this month with UMG's landmark pact (more on that here) -- is also part of the deal. That policy gives Merlin's label partners the ability to make new albums available only on the service's premium (paid) tier for the first two weeks after release. After that, albums are made accessible to free tier users.

Other particulars of the Spotify/Merlin deal have not been disclosed.

Merlin has worked with Spotify since the streamer launched in 2008, via a single global license providing access to the music of its partner labels. "Merlin was a launch partner to Spotify back in 2008, and our partnership has thrived ever since," said Merlin CEO Charles Caldas in a statement. "This new agreement lays the path to future sustainable growth for us both, and we look forward to remaining an integral part in the service's continued success."

Beggars Group founder Martin Mills, who is chairman of Merlin, said the updated pact "allows independents in the Merlin community the comfort of knowing they have a highly competitive deal and parity of access to the service, whilst creating a commercial environment in which Spotify can grow to the benefit of all of us."

Spotify co-founder and CEO Daniel Ek said on Twitter that he was "super happy" about the new agreement, and communications chief Jonathan Prince added that the deal "means new ways to break indie artists, connect them to fans, build audiences and share data!"

With Merlin and Universal deals in place, Spotify has two major entities to come to terms with: Warner Music Group and Sony Music Entertainment. These long-term licensing agreements are seen as a crucial step as Spotify tries to clear the path for going public, either with an IPO or a direct listing as rumored.

According to the RIAA, streaming now accounts for 51 percent of U.S. recorded music revenue, with Spotify and rivals like Apple Music and Amazon fueling 11.4 percent growth in 2016 following years of decline.

Prince Vendeu Mais Albums Do Que Qualquer Outro Artista em 2016

Prince Sold More Albums Than Any Other Artist in 2016

In the year after Prince's death on April 21, 2016, the Purple One's catalog of albums and songs have sold a combined 7.7 million copies in the U.S., according to Nielsen Music, through the week ending April 13. Of that sum, 2.3 million were in traditional album sales, and 5.4 million were from digital song downloads.

The bulk of his album and songs sales occurred in the month after his death: 5.65 million were registered between April 21 and May 19, 2016.

Incredibly, for the full year of 2016, Prince sold more albums than any other artist -- even Adele -- with 2.23 million copies sold. (Adele sold 2.21 million albums last year.)

For context, those 5.4 million digital song downloads account for nearly one third of the 18.64 million downloads of his songs since Nielsen began tracking the digital format -- in 2003. And the 2.3 million in traditional sales are eight times more than the 280,000 album sales of his catalog over the entirety of 2015.

His best-selling titles last year were the The Very Best Of Prince (668,000 copies), followed by Purple Rain (498,000) and 1999 (169,000). 4Ever, the new greatest hits album that came out Nov. 20, 2016, scanned 67,000 copies, making it Prince's seventh-largest-selling album of 2016. So far in 2017, it is the largest seller with 56,000 copies, almost double that of Purple Rain (29,000).

Among his songs, "Purple Rain" was his best-selling title last year with 621,000 downloads, followed by three titles with between 335,000-345,000 sales each: "Little Red Corvette," Let's Go Crazy" and "Kiss." In 2017 so far, "Little Red Corvette" comes in fourth, with "Purple Rain" leading the way with 34,000 song downloads and "Let's Go Crazy" and "Kiss" in the second and third spots.

This year, as of April 13, Prince's track sales have come back down to nearly 286,000, which is approximately the same level it was through the week before his death last year, when downloads totaled nearly 270,000. For the year prior, through the week ending April 12, 2015, track sales stood at 299,000 units, showing again otherwise-consistent sales at the same point in each of those three years.

In terms of album sales so far this year, Prince has sold more than twice the amount as at the same time in 2016, right before his death: 179,000 copies in 2017, compared to 84,000 as of April 14, 2016, per Nielsen Music. One possible reason for the jump is the release of 4Ever; new albums typically generate more sales activity.

Looking at consumption shows a more interesting picture, but one that can't be compared with the past, given the previously-limited availability of his catalog on streaming services. (Prior to Feb. 12, 2017, his full catalog was only available to stream on Tidal.) For all of 2016, on-demand streams totaled nearly 97.6 million, of which nearly 37 million were on-demand audio and nearly 61 million from on-demand video, a la YouTube, which uses safe-harbor rights to keep all artists' music almost perpetually available on their site, no matter how many takedown notices it receives from artists.

Those numbers have increased dramatically this year, largely due to his catalog becoming widely available on all streaming services. So far this year, Prince songs have racked up 66 million on-demand audio streams -- nearly double that of the 37 million on-demand audio streams for all of 2016. But his on-demand video streams to date total just 6 million, or one-tenth last year's total, potentially due to the catalog's new availability on audio streamers.

If Prince fans continue to visit on-demand sites for music at their present pace, his on-demand audio total could hit about 280 million streams by year's end, which is in the ballpark for annual on-demand audio stream totals for a legacy artist of his stature. "Purple Rain" is again his top song in terms of on-demand streaming -- both audio and video -- with a total of 5.3 million streams in 2017 so far.

Finally, since his death, Prince's music has become more popular at radio. As of April 14 of last year, his music had been played nearly 81,000 times, reaching 366,000 spins for all of 2016, according to Nielsen Music. That year-end total is a big jump from the nearly 245,000 spins counted for the entirety of 2015.

In 2017 so far, Prince's music is still outperforming at radio: his songs have accumulated nearly 141,000 spins as of April 13, 2017, nearly double the number over the corresponding period in 2016. "When Doves Cry," with slightly more than 22,000 spins, is his most popular hit at radio this year.

‘Guardians of the Galaxy Vol. 2’ - Trilha Sonora - Video

‘Guardians of the Galaxy Vol. 2’ Soundtrack Details

The details of the soundtrack album for Marvel Studios’ Guardians of the Galaxy Vol. 2 have been revealed. The album features the songs from the movie by artists including Fleetwood Mac, Glen Campbell, George Harrison, Electric Light Orchestra, Sam Cooke, Yusuf & Cat Stevens, Looking Glass & more. Also included is the original song Guardians Infernoperformed by The Sneepers feat. 

David Hasselhoff, which was written by the movie’s composer Tyler Bates and director James Gunn, as well as Sweet’s Fox on the Run as featured in the sci-fi adventure’s trailer. The soundtrack will be released digitally and physically on April 21, 2017 and is now available for pre-order on Amazon. 

A separate soundtrack featuring Bates’ original score will be announced soon. Guardians of the Galaxy Vol. 2 starring Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Michael Rooker, Karen Gillan, Pom Klementieff, Elizabeth Debicki and Kurt Russell will be released nationwide on May 5, 2017 by Walt Disney Pictures. Visit the official movie website for updates.

1. Mr. Blue Sky – Electric Light Orchestra
2. Fox on the Run – Sweet
3. Lake Shore Drive – Aliotta Haynes Jeremiah
4. The Chain – Fleetwood Mac
5. Bring it On Home to Me – Sam Cooke
6. Southern Nights – Glen Campbell
7. My Sweet Lord – George Harrison
8. Brandy You’re a Fine Girl – Looking Glass
9. Come a Little Bit Closer – Jay and the Americans
10. Wham Bang Shang-A-Lang – Silver
11. Surrender – Cheap Trick
12. Father and Son – Yusuf / Cat Stevens
13. Flashlight – Parliament
14. Guardians Inferno – The Sneepers feat. David Hasselhoff

O Som De Kong: Skull Island

The Sound of Kong: Skull Island

We chat with the sound team of Kong: Skull Island and discuss their collaboration with Director Jordan Vogt-Roberts featuring re-recording mixer and sound designer Pete Horner, co-supervising sound editor Al Nelson and co-supervising sound editor Steve Slanec.

A secret government organization mounts an expedition to Skull Island, an uncharted territory in the Pacific. Led by an explorer (John Goodman) and a lieutenant colonel (Samuel L. Jackson), the group recruit a disillusioned soldier (Tom Hiddleston) and a photojournalist (Brie Larson) to investigate the island's peculiar seismic activity. But once there, they discover that Skull Island is home to a gigantic ape called King Kong, and find themselves caught up in an ongoing war between the beast and the area's indigenous predators. Jordan Vogt-Roberts directed this reboot of the classic monster franchise.

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: