A few months ago I was experimenting with different sounds in my midi controller, particularly looking to do something more with the sub-sonic effects.
When Mass Effect Andromeda was released, I thought! Why not do something using the teaser, so that's what I did with some effects using sub-sonic.
The soundtrack I did while watching the video and fit the track for each part.
Well that is it! I hope you enjoy, any comment will be welcome, whether it's positive or not.
Judas Priest Explains How New Mobile Game 'Road to Valhalla' Is Part of Metal's 'Great Escapism'
Judas Priest is taking fans to Odin's lair with a new mobile game, Judas Priest: Road To Valhalla.
The adventure -- available now (July 19) via the App Store for iPhone, iPad and iPod Touch -- allows players to use song stems from Priest's 2016 Battle Cry livealbum to create new songs to battle characters from Priest's songs and album art to advance through the game until they reach the mythical Valhalla.
Priest favorites such as "You've Got Another Thing Comin'," "Breaking The Law," "Electric Eye," "Turbo Lover," "Painkiller" and, of course, "Halls Of Valhalla" are featured as part of the game, which was developed by Babaroga in partnership with the band, Trinifold Management LLC UK and Sony Music Entertainment.
"It's like a little microcosm of that world we've created with the characters over these years that come to life in a very good way," frontman Rob Halford tells Billboard. "The people that made it did a fantastic job, 'cause you don't want people to go, 'Oh, that's cheesy.' You want it to feel like people are really getting lost in the whole thing, and that can be kind of difficult to do on a small phone. But with this you can put your ear buds in and turn it up full and get lost on the Road To Valhalla for as long as you can before the boss taps you on the shoulder and tells you to get back to work."
Most appealing to Halford and his bandmates is Road To Valhalla's music creation component. "You need to have some weight there, with the music," Halford explains. "All the songs that were incorporated are great songs. It's quite challenging, and it's a lot of fun. You can make it quite simple, which I choose, or some of these crazy maniacs can do extraordinary things. It's really a first for us, so we're excited to see what kind of shenanigans that fans will get up to with this particular event."
And when they get to Valhalla? "It's full of the great attributes of metal with lots of fire, lots of mountains, lots of smoke and lots of color and speed and excitement as you're making the journey," Halford says. "Along the way you're attacked by all these incredible beasts, a lot of whips and chains and motor bikes and tour buses. I think this is part of the great escapism that we try to make with metal. You can actually be part of the experience rather than just listening with this."
While fans are escaping they can also prepare for the arrival of Priest's next album, the follow-up to 2014's Redeemer Of Souls. Though not expected until the spring of 2018, Halford says the set is mostly finished and "is going through those last pieces of machinery" -- including what he calls "some killer artwork." Halford is staying mostly mum about the music itself, but he allows that, "We worked really hard on this one to make a really strong follow-up. It's another big step for lots of different reasons -- but that's all I can say or I'll risk being put in the Tower of London for talking about it too much."
Music.Film Launches Online Hub For Licensing Film Scores
Cutting Edge Group, a company that has been helping finance film scores and soundtracks in exchange for ownership of masters and compositions for the past 10 years, is launching a new online portal for its Music.Film production catalog, where creators looking to license scores and songs from high-profile films for their own works can search through Music.Film's catalog digitally. The web-based hub will be unveiled this afternoon at a launch event in Los Angeles, and is available online now.
Recognizing the shifts required in the digital age when it comes to licensing music for television shows, advertising or gaming -- namely, tighter timelines and smaller budgets -- Music.Film is making their catalog of some 400 scores and soundtracks searchable, allowing supervisors to navigate much easier and more quickly than before.
Several of the more high-profile pieces of the company's catalog have also been recognized by the Academy of Motion Picture Arts and Sciences; the music in the films The King's Speech, Sicario and Carol, for example -- all of which are in Music.Film's catalog -- have been nominated for Academy Awards for Best Original Score, while past Best Picture nominees Arrival and Whiplash also won sound-related Oscars; the former also picked up a Golden Globe nomination for Best Original Score, while the latter was nominated for a Grammy Award for Best Score Soundtrack for Visual Media.
Since Music.Film owns master and publishing copyrights, the company spins itself as an easy alternative to the often more expensive licenses that exist for the majority of film scores. It also offers one-off deals, annual partnerships and generally more-affordable access to high-quality film scores, and waives synch fees for songs that are included in charitable campaigns or public service announcements. By providing the stems of their tracks, composers and supervisors can also incorporate pieces of licensed music into existing scores.
Linkin Park's U.S. Music Sales Rise 5,332% After Death of Chester Bennington
Three of the band's albums are on track to re-enter the Billboard 200 chart.
In the wake of Chester Bennington's death on Thursday (July 20), sales of his band Linkin Park’s music grew tremendously, according to Nielsen Music. Based on initial U.S. sales reports for July 20, the combined sales of Linkin Park’s catalog of albums and songs increased by 5,332 percent (as compared to sales on July 19).
On July 20, the band’s albums sold 21,000 copies (up from less than 1,000 on July 19), while their collected songs sold 90,000 downloads (up from 2,000 the previous day).
In total, the act’s albums and songs sold 111,000 copies on July 20 (versus 2,000 the day previous) -- a gain of 5,332 percent.
The group’s best-selling album on July 20 was its most recent studio album, One More Light, which sold more than 6,000 copies that day (up from a negligible figure on the day previous). The set, which was released in May, debuted atop the Billboard 200 albums chart, granting the act its sixth chart-topper.
It’s anticipated that at least three of Linkin Park’s albums will re-enter the Billboard 200 chart dated Aug. 5, which reflects the tracking week ending July 20. In addition to One More Light likely returning to the list, both Hybrid Theory and Meteora are on track to jump back onto the tally.
The top 10 of the Aug. 5-dated Billboard 200 chart is slated to be revealed on Sunday, July 23.
As for the band’s best-selling songs on July 20, here are their top 10 sellers that day, according to Nielsen Music. (All songs increased from a negligible figure in the day previous.)
Linkin Park’s Top Selling Songs (July 20)
“In the End,” 11,000 downloads
“Numb,” 10,000
“Heavy,” featuring Kiiara, 7,000
“What I’ve Done,” 6,000
“Crawling,” 5,000
“Somewhere I Belong,” 4,000
“Breaking the Habit,” 4,000
“One More Light,” 3,000
“Shadow of the Day,” 3,000
“One Step Closer,” 3,000
Jeff Russo has been hired to score the upcoming sci-fi drama Star Trek: Discovery. The show is set a decade before the events of the original Star Trek series and follows the crew of the USS Discovery during the Federation-Klingon cold war.The series stars Sonequa Martin-Green, Jason Isaacs, Doug Jones, James Frain, Michelle Yeoh and Anthony Rapp. Alex Kurtzman (The Mummy, Now You See Me) and Bryan Fuller (Hannibal, Pushing Daisies) are executive producing the CBS Television production with Heather Kadin (Scorpion, Sleepy Hollow), Gretchen J. Berg & Aaron Harberts (Revenge, Reign), Akiva Goldsman (A Beautiful Mind, I Am Legend), Rod Roddenberry and Trevor Roth. Star Trek: Discovery will premiere on September 24, 2017 on CBS. Visit the official show website for updates.
Several years ago, when the iPad was in its early days, I wrote a post on how musicians could use the iPad. Well, after years of gradual adoption from the music community, the guys at Kensington have compiled this infographic on how musicians are using the iPad and what some of the most popular apps are. Enjoy!
The Musician’s Guide was launched in 2009 by Marcus Taylor, a former indie label manager and artist from Oxfordshire, with a passion to help musicians learn about building their fanbase. TheMusiciansGuide.co.uk attracts over 300,000 musicians from all over the World every year.
How To Maximize The Value Of Music In A Commercial
First of all thanks to George Howard for this article.
The perfect mix of brand messaging and a well chosen piece of music can result in powerful advertisement that potential customers can connect with. It can also provide significant value to the artist, as it broadens their and audience and earns revenue from sync licensing.
Important Considerations for Brands and Agencies
Looking To Integrate Music In Campaigns
The right combination of brand messaging and music can lead to a compelling ad that resonates with prospective customers.
With the proper packaging, advertising can provide significant value to the artist(s) involved as well.
In my experience running a label, the best example of all of the pieces coming together was this Volkswagen commercial featuring the music of Nick Drake:
When the ad initially aired, Nick Drake’s music was unknown beyond a small handful of people, and it can be argued that this commercial brought his music to the masses. As The Boston Globe reported recently, it worked out for Volkswagen, too:
…As for the commercial, not only was it a huge success in building Volkswagen’s brand, but it helped to shift television commercials into an era of tastemaking through advertising. According to Jensen, the trend of spending millions [of dollars] on Michael Jackson songs began taking a backseat to commercials featuring lesser-known artists. “Milky Way” was named one of the top 10 car commercials of the past 25 years by The One Club in 2012.
The experience of seeing how a brand collaboration helped Nick Drake’s work finally find the audience it deserved compelled me to co-found MAX.
This ad made it clear to me that a sweet spot between art and commerce exists where all parties – artists, brands, and most importantly, customers – can benefit.
In this post, I detail some tips and recommendations for generating the most value from music in campaigns.
Best Practices for Advertising With Music
I wholeheartedly believe that for musically-driven advertising to resonate with target audiences, brands and agencies MUST begin the brainstorming process with heavy consideration of the integration of music.
If you get this wrong, nothing else much matters; the entire campaign will fail.
Disharmony here harms the brand, the artist, and most importantly, the customers.
The best campaigns address this potential discord by digging deeply into the psychographic makeup of the artists’ constituencies to determine how their fans relate – in a durable and emotional way – to the brand. And they do this from the beginning of the creative process.
Brands Must Understand the Complexities Surrounding Music Licensing
Just like brand marketing, the music industry is complex and relationship-driven.
Similar to how some in the music world might not fully grasp the systematic RFP process that has become second-nature to those in the agency world, the many intricacies of licensing music can often hide behind a polished final product.
For example, it is rare to find a song only has one rightsholder attached to it. That is, typically, a song will have at least two parties who have some ownership claim (and therefore veto power) of a song: (1) the label and (2) the songwriter.
Of course, in today’s music era, many songs have samples and multiple writers, and/or guest performers, so the number of potential rightsholders is massive. Often, in order to use the song for a commercial, each of these rightsholders must agree to its usage.
In other words, this requires:
Finding everyone with ownership in a song
Negotiating with each party, and/or convincing all of them to approve a so-called Most Favored Nations (MFN) deal, in which all parties receive the same amount/terms
Issuing (and getting back) contracts
Accounting to each rightsholder
Even with all of the above addressed, there is still risk for the brand should any of the parties misrepresent their rights, or some piece of the song (sample) was not cleared. Misrepresentation of rights affected Matador Records to the tune of $50,000 in May 2016.
Given all of this, it’s crucial to ensure that proper diligence is done before airing anything.
You Don’t Need a “Superstar” Artist To Connect With People
As the Nick Drake example above shows, a household name is not necessarily required for a successful campaign. In fact, brands striving for authentic storytelling and the creation of deep/durable emotional connections with potential customers may do better to support emerging artists, rather than pay the large fees required to attract star power.
Just because an artist is popular does not mean that their fans’ values will axiomatically align with those of a brand. In fact, our data MAX has accumulated around fans often shows the opposite is true.
The musical landscape is comprised of increasingly diverse (and diffuse) talent that’s not necessarily all over Top 40 radio, and the rise of on-demand streaming has allowed brands, agencies and artists more traceable ways to reach these music fans.
Advertising With Music: Three Key Takeaways
Everyone wins when the music in an advertisement leads the viewer to explore the brand’s offering AND the artist’s songs.
This alchemy happens all too rarely because music is sometimes regarded as an add-on. A core mission of MAX is to increase these positive outcomes – where brands, artists, and fans all benefit – from the premises that:
Music must be integrated based on shared psychography of the brand’s customers and the artist’s fans
Campaigns must be orchestrated transparently so music-related rightsholders and brands all understand how the music is being used and the related value propositions
Shared value alignment, NOT simply popularity, is the key to the greatest music/brand integrations
